BINGELY STREAMING

REPTILE

Netflix Original

Netflix

What happens when the life that you thought that you knew isn't what it seems and in the end, you realize that you're in the midst of a coverup that makes it incredibly difficult to get out of? In Reptile, we're introduced to a real estate family that does a little more than selling houses. Will Grady (Justin Timberlake) is living the dream and seems to have a great life along with a woman that he loves.

We also get to know more about a police officer, Nichols (Benicio Del Toro) and his crew! The two worlds of these men as well as those associated come together in a thriller that leaves you constantly wondering how all of this is connected and where as well as what is the lie?

This is the perfect movie to watch on a weekend solo or with friends!

FBOY ISLAND

CW Original

CW App

We have been fans of FBOY Island for the past 2 seasons on Max as this social experiment is definitely next level when it comes to women finding their ideal man. Now that they have made the move to The CW, we're glad that Nikki Glaser is back navigating the relationships between the 3 women this season and those who are FBOYs and Nice Guys! Interestingly enough, of the 3 contestants that we will get to know more about, Katie Thurston from Season 17 of The Bachelorette is competing for love! It's an interesting crossover, but we know that the Executive Producer, Elan Gale, previously worked on The Bachelor/Bachelorette franchise. In addition to Katie, she is joined by model Hali Okeowo and social media influencer Daniella Grace.

We can't wait to see what will take place this season and to see how these women will go about the experience!

EVEN THE RICH - COURTNEY LOVE: NOBODY'S DAUGHTER

Wondery

Spotify

Even the Rich is a great series that has a number of episodes that focus on getting the inside scoop of a celeb or noted person that you know. You get to know about how they got to where they are, what they had to navigate in order to be who they are, and where they are now!

Previous series have included Jay-Z and Beyonce, The Royals, Selena and so much more! Currently, they are focusing on Courtney Love! In this series we'll get to know more about her, her career, and beyond. Hosts Brooke Siffrinn and Aricia Skidmore-Williams will take us on this journey as well as give a few insights along the way!

Read the OCT ISSUE #94 of Athleisure Mag and see Bingely Streaming in mag.

BINGELY BOOKS

THE 8GREENS COOKBOOK

Preface Publishing

Dawn Russell

We have been a fan of 8GREENS for a while now. We love that by drinking a tablet each day as well as having gummies that's packed with our must-have greens, we're effortlessly contributing to our good health.

In The 8Greens Cookbook: The Simple Way to Get Your Greens, founder of this nourishing brand, Dawn Russell shares how navigating her health issues led to a journey on the power of getting your greens! The recipes include items that include products from her line as well as those that include our favorite veggies. This book is one that is great for those that want to incorporate ways to great health.

ICE COLD. A HIP-HOP JEWELRY HISTORY

Taschen

Vikki Tobak

Ice Cold. A Hip-Hop Jewelry History takes us through how this accessory is the cornerstone of Hip-Hop from Patek Philippe watches, Tiffany necklaces, Rolexes and more! This coffeetable book is filled with diamond encrusted grills, truck style chains and a number of blinged out pieces that your favorite artists have worn as well as performed in.

This book looks at these statement pieces from the 1980s to today. In addition, artists share their stories through ice and how this is an extension of their identity and self-expression. We get to hear from as well as see Run-DMC, Eric B., Rakim, Pharrell Williams, Jay-Z, Gucci Mane and Cardi B to name a few. We see the pieces that they love and how street style was transformed into a new era of design culture. The book also shares collaborations, the use of unconventional materials and of course, over the top pieces.

In reading this book, you'll learn about jewelers that paved the way for the industries pioneers from Tito Caicedo of Manny’s, Eddie Plein, and Jacob the Jeweler as well as artisans including Avianne & Co., Ben Baller/IF & Co., Greg Yuna, Johnny Dang, Eliantte, and more.

Make sure to read the foreword by Slick Rick and essays by A$AP Ferg, LL COOL J and more.

THE HOUSE OF EVE

Simon & Schuster

Sadeqa Johnson

We find ourselves in 1950s Philadelphia in The House of Eve and meet Ruby Pearsall who is on track to being the first person in her family to go to college. But a love affair threatens to keep her where she is.

We also meet Eleanor Quarles who comes to Washington, DC, with ambition and secrets. When she meets her handsome love interest who attends Howard University and comes from an elite wealthy Black family, she realizes that she has a lot to navigate in order to be accepted by his family. This is the life that she has always wanted and she simply wants to fit in.

With their stories colliding in the most unexpected ways, Ruby and Eleanor will both make decisions that shape the trajectory of their lives.

Read the FEB ISSUE #86 of Athleisure Mag and see BINGELY BOOKS in mag.

A LEGACY MANIFESTED | ADAM BLACKSTONE

When we watch our favorite performances, there are so many people involved that make these shows come together. The Music Director has a birds eye view and is integral in making sure the components come together, keeping all the teams in lockstep with one another and being able to translate the artist's vision to what we see.

When you have a MD that is also musician and can play across genres, you really have someone that is multi-talented! We caught up with Adam Blackstone a bassist who has performed with Jay-Z, Dave Chapelle's Block Party, Justin Timberlake, Janet Jackson and so much more. He has also been the MD for a number of the entertainers above including Nicki Minaj and Rihanna - sometimes playing with these artists and more. In addition, this man has been the MD behind the historic Pepsi Super Bowl LVI Halftime Show featuring Dr. Dre, Snoop Dogg, Kendrick Lamar, Mary J. Blige and Eminem and will be back again when for the Apple Music Super Bowl LVII Halftime Show with Rihanna hits the stage for this moment of sports meets music. In this position, he has helmed the OSCARS, NBA All Star Weekend, The Masked Singer and more.

In addiiton to being in the industry for decades with a coveted list of talent that he has worked with, he just released his debut album Legacy last fall and his single 'Round Midnight’ with Jazmin Sullivan has been nominated for a GRAMMY which takes place next month! To ensure that he can continue to grow his brand and fingerprint on the industry, he also talks about how he supplies an array of talent from musicians, engineers and background singers to our favorite artists through BASSic Black Entertainment.

With some busy days ahead, we wanted to find out about how he found his way into the music industry, his love for bass, being a musician as well as a MD and what he has coming up.

ATHLEISURE MAG: What was the moment when you fell in love with music?

ADAM BLACKSTONE: That’s a great question! I think from birth! With my family, I was always surrounded by music, my father is a musician. What we would call today, probably a wedding band singer, but he did weddings, bat mitzvahs, church services, banquets, and all of that. Then, growing up in Black church, my mom and my family was heavy into choir and music ministry. I think that early early African American church experience allowed me to see the power that the music played in the emotional and psyche of human beings in general. Fast forward to me going to high school and getting some jazz band awards and all of the accolades and the praise and being a little bit turned on by that as well. It made me want to excel and to show Black excellence. Of course, fast forward to really my first major major gig was Jay-Z on stage at Madison Square Garden. There was nothing like that feeling! So those 3 instances for me were very much spread out, but were very much so similar feelings you know?

AM: Yes. What drew you to wanting to play bass?

AB: Funny story, I started as a drummer. I think every little Black boy in church as a musician wants to play drums. When we moved to a suburb in town - Willingboro, NJ, again, the band teacher who was white, I’ll never forget when he said, “listen, I have 14 drummers. I heard about your family, I hear about your musical lineage that you have and our band is missing a bass player.” This was in 2nd grade and he said, “I would love if you would switch over.” I said, “hell naw, I’m not doing that bro!” This was back in the day when you had to walk to school and all of that and I wanted to walk with my drum sticks – I didn’t want to walk with a bass! He talked to my parents and we made the switch and honestly, it was one of the best decisions that I had ever made of course!

So that is what introduced me to bass and that instrument in general allows me to be the foundation and the root of all of the chords that are being played. I learned that a little later on. Drums is the rhythm, but bass is really the melody and it controls the chordal structure. Me being the future MD that I was, I think that I like a little bit of the control!

AM: I like how one decision really made all the difference!

You have worked with so many people from Rihanna, The Roots, Justin Timberlake, Maroon 5, Jay-Z and even across genres.

AB: Yes!

AM: How do you approach when you’re working on these projects as they all have different needs and different focuses in terms of when you’re coming in as the musician role.

AB: I think that the biggest thing is that they allow me to be able to be myself, to be creative, allow me to present them with ideas, but also knowing that I am protecting them. They know that I am taking their vision and just trying to enhance it a little bit. As musical director and crossing genres specifically, it’s not about my vision, it’s about the artists’ vision. We’re all a team. If they win, we win. If they’re hot on stage, if their tour is hot, it allows for more opportunities for me as well! So, I always pride myself on asking the artists what they need, what they want and how I can be a vessel to enhance that vision across genres, that respect is given and so they allow me to, you know, continue to be as successful as I am.

AM: Tell me about your debut album Legacy which came out last fall!

AB: Yessss Legacy, Legacy! It was a labor of love for sure! We all went through that pandemic, and you know, we lost some folks. I lost a couple of good friends of mine, I lost a cousin and going through to their services, I realized that I didn't want to leave this Earth with a laptop full of ideas – you know what I’m saying? I heard Jazzy Jeff say, “leave here empty.” So, I was really inspired by loss and I buckled down for about 40 - 45 days and returned to my roots and one of my first loves is jazz and really progressive jazz. I decided what songs I wanted to do and really saw which artists were being impacted by me for a long time and how they wanted to pay it back to me by hopping on my album. Everybody from Kirk Franklin to Mary Mary to Jazmine Sullivan to Jill Scott to Queen Latifah. The list goes on and on! I made that one phone call and they said, “absolutely, whatever you need,” because they know for the last 20 years, I have answered their phone calls and said the same thing. You know what I mean? It’s what I like to call, Relationship Equity! It’s been really cool. We went Billboard #1 on Legacy, the single got a GRAMMY nomination, we are Image Award nominee now for 2023 and going on tour opening for Jill Scott this spring. I’m very excited about that that Legacy continues to hopefully impact people and to become part of their legacy as well. I really did it to inspire.

AM: That is amazing and I really love when you are talking about Relationship Equity, as I have definitely dipped into that pool many times and let them know that for the times I reached back, I needed it for what I was working on.

AB: Even with that, to the right person, you don’t even have to say that because they know what you’ve done and the value that you have added to their legacy, you know what I’m saying? I’m very grateful for God giving me the foresight 20 years ago, didn’t know I would be here doing a record. I was nice to people, I was a good character person, I had integrity and so now when I make these calls, it’s been no issues. I’m super thankful for that!

AM: So are you thinking about your next album?

AB: Legacy 2, I’m definitely thinking about it for sure!

AM: In addition to being an artist and a musician, you’re a noted Music Director. Can you tell us what a Music Director does?

AB: No problem. As an MD, my job is to curate everything live music oriented from stage, to lighting, to choreography, to programming – basically build that live experience for the viewer. So it starts by me sitting with the artist and seeing what story that they want to tell through their set list. Sometimes we have 2 hours and then for things like the Super Bowl, we have 13 minutes, you know what I mean? From there, I do a lot of hiring of the band, backgrounds, engineers and then I rehearse the band and then it’s everything from me going to choreo rehearsal, lighting rehearsal to make sure that their cues line up with the music cues. So that gives that total overall experience and that’s essentially what a music director does from arranging, to scoring to creative on the stage.

AM: When you’re doing that, is it hard for you to wear two hats when you’re actually playing as well as being the Music Director?

AB: That’s a great question. I have to be honest and say, that it’s easier for me to be able to do the two hats because I speak through my instrument. That allows me to have a little bit more of a fluent language if we use that analogy, because I can get the ideas out while playing. Sometimes, if I’m just coming in to oversee and there is another band like Maroon 5 or something like that - when I do Tim McGraw, he has his own band, it’s like I have to adapt to their language. Either way it’s cool, but I have to say that the two hats actually because of my musicianship and I’m thankful for that, it lets the MD job be a little easier for me!

AM: It’s amazing to think about the fact that you were saying that whether someone is going on a tour, last year’s halftime show for the Super Bowl and you were also involved with The Masked Singer as well which is a TV show. That’s a lot of hats to juggle, so how do you say, ok if this is a tour – it’s this way and a TV show is another way and then when you’re doing the halftime show which was ridiculous –

AB: Thank you so much!

AM: We just watched the documentary, The Show: California Love, so being able to see the behind-the-scenes as someone who is a fashion stylist and the Co-Founder and Creative Director of Athleisure Mag, I have such an appreciation for how all of those things come together and it’s nice to see how that all took place.

AB: I think that the biggest difference is trusting myself and trusting the process. When it comes to the creative, I started as a touring guy so a lot of times, the touring aspect comes a little easier to me and I’m a fan of music. So I know what the viewer wants to see/hear. When it comes to the television show whether it’s The Masked Singer, The Four, BET Awards, The Voice – things like that, we’re making television so how do we want to sustain people’s interest by watching the show? How we do that is by making very impactful moments happen in a very short period of time. That’s different then the tour, because you want to elongate the moment so that you can stretch out people’s attention span – you get what I’m saying? It’s a different hat to wear, but at the end of the day, it’s about entertainment and I am happy to be a true entertainer in the sense of the musicianship of it.

AM: This year, you’re going to be back at it again with Rihanna’s halftime show for the Super Bowl. What can you tell us about this show and anything that you can share as we’re all so excited!

AB: No doubt, I’m excited to be a Co-Musical Director this year with my partner, Omar Edwards. He’s another Philly guy and we are going to set the world ablaze! Riri has had the superpower of all her career of being Anti, no pun intended! So, what that allows us to do is for us to think completely outside of the box. I can’t give you too many more details to be completely honest, but I will say that it’s going to be a whirlwind experience for that 13 mins for sure. I think that the people will love it for sure. I always like to call it the Super Bowl catalog of songs so I promise you that you will hear your favorites!

AM: Tell us about BASSic Black Entertainment and what it offers to those in the music industry.

AB: Absolutely, BBE we call it for short, BASSic Black Entertainment was founded by myself and my beautiful wife, Kaisha Blackstone. At a point in 2008/2009/2010, my stock as MD was rising and I was not able to be in multiple places at one time! So, the artists trusted me and said, “hey, even though you can’t be there. Can you set it up for me, hire the personnel?” I said of course and knowing that these people shared the same core values as me musically and personally, character and integrity as well – at one point, I had over 250 musicians, singers and engineers collectively out on the road with different tours. My wife said, “ok guy, hold on. Let’s figure this out.” How can we not just monetize because it wasn’t about that, it was about creating a structure for these people. I kind of was like calling them up, doing the music and then throwing them out with the wolves per se in my earlier career. But once we set up BASSic Black Entertainment, there is a structure, there are tour managers, there are rates in place and everything that allows people to be able to come to work and maximize their jobs for the potential to be a musician and to not have to worry that anybody will take advantage of them. They also know that the BBE brand is represented as well so it’s all with excellence.

Right now, we are a music staffing agency, we have now branched into the record label industry business as well with BBE Records and we will continue to not only put out music, and new artists, but also support tours. Right now, I have a BBE band out with Jeezy, a BBE band out with SZA, a BBE band out with Ari Lennox, we’re doing great! For myself, I’m opening this spring for Jill Scott, so that is going to be a great experience as well.

AM: I mean, you have so many plates that are spinning, all those projects, prepping for your spring tour, going to the GRAMMYs next month!

AB: Yesssss!

AM: Congratulations on that! You have the halftime show coming up – how do you take a moment for yourself in terms of self-care and making sure that you can kind of refill your cup or at least partially?

AB: I’m about to give you some exclusiveness! I like to just disappear from rehearsal for 3 days and to see my kids! Family first over everything to me! If I have their blessing to go out and be great, that allows me to remain creative and to operate in my most maximum genius. If the home structure is not cool, I’m coming home – you know what I’m saying? Even if home is cool and my stomach is not cool, or me missing my family and my wife is not cool, I’m coming home so that is how I replenish myself. I kiss my babies – I love on my family. I bring them out with me when I can. They support me in all I do, it’s been a sacrifice. It’s a sacrifice not only for me, but my wife as well. I’m just so thankful that I have a strong woman like that to hold the fort down, be at the crib – she knows that I’m out here building a legacy for our children. Hopefully, for her to be proud of as well. That’s how I replenish myself by filling myself up with love from my family.

AM: Once again, it was so much fun to research you for this piece as there were things that we already know, but it was a treasure trove of so many things like being the MD for All Star Basketball Weekend and the Oscars, you got an Emmy for last year’s halftime show for Oustanding Music Direction – you have done so much, you have worked with so many artists and now you have your own album, what do you want your legacy to be?

AB: My legacy should be that Adam Blackstone was a core value person, giving, selfless, loving and also did good music and made people laugh, made them dance through the melody. If that can be my legacy, that would be more then I could ever ask for. If my music is it then that is a plus, I promise you! I’ve been so thankful to see the impact that it has had through the accolades. The Emmy award was so so great, but I was hired to do a job, right. I was always going to do the best that I could do. I’m alsoways going to be the best me that I can be and an Emmy just validated that someone else thought that it was a good job as well. This GRAMMY nomination hit differently for me, because it’s an idea in my head – the music, it’s an idea in my gut, it’s an idea in my soul and it’s an idea in my heart. So, to see how that one idea can come to fruition and other people then latch on to that idea which was created by yourself, it just meant a whole different aspect for me with that. So the music thing has been such a great tool to show me the power of music, you know what I mean? I’m super excited for what’s to come and super thankful for that!

IG @adamblackstone

PHOTOGRAPHY COURTESY | Adam Blackstone

Read the JAN ISSUE #85 of Athleisure Mag and see A LEGACY MANIFESTED | Adam Blackstone in mag.

OUR MUSIC OUR CULTURE | GREG HARRIS + ROCK & ROLL HALL OF FAME

Music has immense value, from enjoying the song, melody and instruments used, to the artists, performances and remixes there is a much larger scope in terms of what it means to the social fiber and how in many ways it serves as a mirror of who we are, where we want to be and how we are held accountable. It creates a series of feelings and memories that are enlightened and intertwined.

We had the pleasure of talking with the President and CEO of the Rock & Roll Hall of Fame, Greg Harris. In addition to their noted Rock & Roll Hall Of Fame Induction Ceremony which honors a class of musicians across rock & roll, they are known for the museum which is headquartered in Cleveland, Ohio.

We wanted to know more about the museum, how they connect with music enthusiasts around the world and how artists can become eligible for the honor. Greg also shares how he came to this role and how he continues to drive the importance of impact in music.

ATHLEISURE MAG: Before we delve into your work and role at the Rock & Roll Hall of Fame, I’d love to know about your background because I know you were the owner, partner and operator of the Philadelphia Record Exchange. When did you fall in love with music and what was your focus behind opening this retail store?

GREG HARRIS: You know, I grew up, per your readers loving both sports and music! I was fortunate to be raised to play various sports depending on the season with two brothers. On the music side, it just always spoke to me. We always had music in the house and in Philadelphia, the area where I grew up, new music and old music mixed together. So oldies and FM radio were all the same. I got involved a little bit with one of the local public radio stations when I was in high school. Then we had a club near us called City Gardens and it had every live band and we went there as soon as we were old enough to get in! We were there all the time! Then, I went to college in Philadelphia, I went to Temple University and one of my off-campus jobs to help pay for school was the record department of a used bookstore. That’s where the idea came from that the other clerk and I were friends and we realized that the store owner was making a lot more money than we were as the hourly employees!

So we quit and rented out a storefront about a half a block away and we opened our own store. That business has been a great success! I was involved for a couple of years and sold my half to some other people, but my original partner still has it. The Philadelphia Record Exchange has been around for 30 years and it’s an iconic place in the city. Every musician knows it, everybody that is into music when they are in Philly, they find their way to the store and that includes current artists like Kurt Vile and other folks back in the day, like Ahmir Khalib Thompson – Questlove.

I think an important thing to note in terms of looking at my career is that I found out pretty early on that I couldn’t play very well. I could play some guitar, but I was never that great. But I was always better at helping other people market and grow. So the store became that place. We would put concerts on, we’d shut the streets down and do block parties and promotions with artists and other musicians. We just loved helping them succeed and helping our customers find excitement and joy.

AM: It’s so funny, I grew up my dad was a huge record collector and he would slap my hands every time I would try to go to the stereo to play with the records and at my campus at Indiana University, we had 3 record shops near my campus, Tracks was my favorite one. There is something about a record, I love them and when you hear the sound that comes out and the needle hitting the vinyl – it’s an experience. When I read that about you, I thought that’s really cool!

GH: Those stores back then, that was kind of the social network. It's where you met like-minded people that loved the same music or liked similar music. It’s where you learned! You couldn’t Google everything so sometimes the customers taught you and you taught them!

AM: Especially if you were able to come up with crazy imports. I think there’s something about that social fiber when you don’t have that independent local record store. The guy that I would get my music from knew so many things about various artists and had stories to tell and I appreciated it. I don’t remember if they had block parties but it would have been amazing!

GH: I really want to celebrate my original partner, who still has it Jacy Webster and he has given such a gift to Philadelphia music lovers for the last 30+ years, it’s an amazing place!

AM: Another part of your background that’s interesting is I love your focus on curation. To know that you were at the National Baseball Hall of Fame and Museum at Cooperstown where you focused on curation was really interesting. Can you tell us about what your role was there, what you did, and why curation was so important?

GH: My first significant museum position was at the National Baseball Hall of Fame. I was originally hired to be there Broadcast Media Archivist. My job was to curate the broadcast collection and that was recordings of All-Star games, World Series games, home movies, radio pieces – all the things where that exciting history of baseball is. In museums, they have to take their collections and tell stories with them. You want to tell the stories where you have impact to your visitors and to make those connections and that’s what we did in Cooperstown. You know, it’s an amazing museum. I started in that area, I was fortunate to be able to curate some exhibits and much like the record store, I got involved in business development and fundraising and things like sponsorship and inductee relations. It really helped to grow the business and as I advanced from the collections side of the house, I got more involved in business development and the growth of the enterprise. I spent 14 terrific years there and it was really hard to leave. It’s a wonderful museum. Anyone that has ever played catch in the backyard or Little League, should go to Cooperstown to experience it.

AM: What do you think is the connective tissue between baseball and music and how were you able to move onto the Rock & Roll Hall of Fame where you’re the President and CEO currently?

GH: They’re 2 great places and they’re both so much part of our culture. People have a deep love for both subjects. They make these pilgrimages to Cooperstown or the Rock and Roll Hall of Fame. These music and sports evolve and they are the history of our culture – all the good and all the bad comes through and you can tell these stories. On some fronts, you can talk about exclusion and people not being included and you can tell about opportunity opening up. Sometimes it opens up in sport before it opens up to the wider society. These are really important pieces for all of us to learn from to think about and to grow from. Then on the other part from the business side, these museums operate in a very similar way. They each get hundreds of thousands of visitors a year.

We have inductees that are the best of the best individuals, we have broadcast properties, we have important digital engagement with our visitors, we have retail operations and we are places that kind of mean a lot to a lot of people. So they’re very similar from a business sense and it’s just the subject that’s a little bit different. But they are magical places where people learn about their history, themselves and it helps them to better understand the present.

AM: Well can you tell us about the history of the Rock & Roll Hall of Fame in terms of who founded it and what it’s mission is? I know a lot of people think about it in terms of the amazing induction ceremony, but there are a lot of things that it does.

GH: The Rock & Roll Hall of Fame started close to 40 years ago by a group of music industry professionals – the head of Atlantic Records, Ahmet Ertegun and the head of Rolling Stone Magazine, Jann Wenner and others. They conceived it as a special evening celebration for their industries’ best of the best. After doing that for a short period of time, the idea came up to want to build a museum. A bunch of cities looked at it New York, San Francisco, my hometown of Philadelphia – all made a play for it, but Cleveland really stepped up. Cleveland had a great story about rock & roll being important to the city and being an important place for artists who broke in – including David Bowie’s whose first shows in the US were in Cleveland, Jimi Hendrix when he came back from England – his first shows were there, Rush’s first shows were there. Also a DJ named Alan Freed was playing music in the early 50’s and inspiring young people – so they had this great story! But, they showed up and had a business plan. They said this is how we’re going to build it and how we’re going to fund it and this is what it is going to mean to the region. Long and short, 27 years ago we opened up in this I.M. Pei building on the shores of Lake Eerie in Ohio. Since opening our doors, over 13 million people have visited the museum and we’re at the height of our summer season now. We'll get thousands of people through everyday all summer long. Every one of those people who comes through the front door has a lifetime of memory connected to the subjects inside our museum. When they see it, they hear it or hear it through a band that plays on our stage, it inspires them and makes them think of the people they were with and the places that they were at, the greatest week of college, the time their heart was broken, the greatest road trip that they took and they might even hear a song that reminds them of their mom, dad or siblings.

AM: So when you say rock & roll, what genres comprise this very broad title?

GH: It’s a big title and quite frankly, our definition is a very big tent. Rock & roll is more about attitude and spirit then it is about a specific sound. We embrace in the 50’s Doo-Wop, Street Corner Harmony and RockabIlly; in the 60’s there’s Psychedelic, Soul music, Folk music; in the 70’s there’s Heavy Metal, Hip-Hop, Dance Music, Disco, Punk Rock – it’s all under the umbrella of rock & roll. Synth Pop and Industrial – we embrace it all! So for us, it’s all about attitude and spirit! There’s an attitude about Johnny Cash that he had to the music industry and when Ice Cube was inducted, a couple of years ago, In his induction speech, he said, “rock & roll is a spirit, rock & roll is an attitude.” You can find his full quote online. (Editor’s Note: When Ice Cube was inducted, he talked about whether a rap group was considered to be rock & roll. He said, “Now the question is, are we rock & roll? And I say you goddam right we rock & roll. Rock & roll is not an instrument, rock & roll is not even a style of music. Rock & roll is a spirit. It’s a spirit. It’s been going since the blues, jazz, bebop, soul R&B, rock & roll, heavy metal, punk rock and yes, hip-hop. And what connects us all is that spirit. That’s what connects us all, that spirit. Rock & roll is not conforming to the people who came before you, but creating your own path in music and in life. That is rock & roll, and that is us. So rock & roll is not conforming. Rock & roll is outside the box. And rock & roll is N.W.A. I want to thank everybody who helped induct us into the Rock & Roll Hall of Fame and I just want to tell the world – Damn, that shit was dope.”) That is what we embrace. It’s the voice of change, it’s always been the sound of young America and it continues to evolve and as a museum, we continue to evolve with it.

AM: So as music continues to evolve, you will always look for new forms and elements to add to what rock & roll is.

GH: We will and that’s kind of the wave right now. That’s why we have been inducting great Hip-Hop artists right alongside great Heavy Metal artists. In the last induction, it was LL Cool J, and it was Carole King, it was the Foo Fighters, Jay-Z and Tina Turner that were all inducted! To us, it’s a broad tent and everybody’s welcome!

AM: What are your 3 favorite rock genres that you love listening to?

GH: I look for stuff that’s a little harsher, a little stronger. I love old Blues, I love 60’s Soul like Memphis and I love Punk Rock! I like for it to have a little punch and a little attitude.

AM: I can see that!

GH: Yeah, that’s what I prefer.

AM: What is your day-to-day like in your role and what are the key projects that you’re focused on?

GH: My day-to-day role is 1 – to make sure that we have the greatest museum in the world, that every single visitor that comes through our doors leaves being transformed and impacted and that we have a great team that makes that happen. It’s about keeping our staff inspired and changing. We don’t believe in maintenance mode, we always want to be growing and reaching. To that end, we're working on an amazing expansion project at the museum. We’ll be breaking ground later on this year. We will be increasing the museum by about 50,000 sqft. It’s a great project and we’re very excited to be doing it. For that project, one of my biggest responsibilities is to work with a team and to raise the funds to be able to do that. We talked about how there have been 13 million visitors that have been through the museum for the past 27 years. We need to build something for the next 13 million visitors!

AM: What can guests expect when they do come to visit and then for those that aren't available to come in person, is there an online version where people can connect that way?

GH: Yeah, so I’ll back up a little bit to your question of what do we do. So, we have this great museum and then in addition to this great museum, we have this great digital outreach. So anybody in the world can connect with us and they can experience the Hall of Fame, but also if there are teachers out there, we have ready teaching materials that they can use for free. Pre COVID, we averaged 50 teachers a day using it, during COVID it was about 500 to 1,000 a day and we have reached over 1 million students last year with our online education programs. We would love it if teachers would use it and help spread the word! We’re not teaching kids how to play instruments or to write songs, we’re teaching them math, science, social justice all through the lens of rock & roll.

AM: That’s really cool! It’s a large job!

GH: Oh yeah. We have a really great team and we’re cranking through!

When someone walks onsite at the museum, the experience starts when you’re in the building. You’re going to hear music blasting from speakers, it might be a live band on stage outdoors or it might just be coming out of our PA speakers. In the museum, you can see the whole history of rock & roll – from Blues, gospel and country through the Beatles, Stones, Supremes, James Brown, Motown and all of that. On our 2nd floor, you can play on instruments and jam with your friends. If bands visit us and they want to jam with visitors – they can do that. On our 3rd floor, you can walk through our Rock & Roll Hall of Fame and see the greats of music where they are immortalized forever in our Hall of Fame and experience our immersive theater that has an amazing show that was edited with the great Jonathan Demme and it’s really the greatest moments from the Rock & Roll Hall of Fame Inductions. So really, that’s some of the things you do and throughout it all, you’re reminded of times in your life that you listened to certain music, the greatest road trip, your Freshman year in college, who you hung out with and we bring all of those memories back and that’s the real power of our place.

AM: Going back to the expansion, what will that involve?

GH: We are keeping the whole I.M. Pei pyramid as is and that’s 128,000 sqft and we’re going to add another 50,000 sqft. You know the Pei Pyramid, the only other pyramid that he has done was at the Louvre which is truly the center of Europe’s great art as it’s the home of Mona Lisa. His only other pyramid is here in America at the Rock & Roll Hall of Fame and we’re the home of America’s great art rock and roll.

AM: That expansion is going to be huge as that’s 175,000 sqft!

GH: Pretty close give or take!

AM: That’s a lot of space.

GH: Well it’s a big subject!

AM: What are 3 of your favorite exhibits that are at the museum?

GH: I love the Garage Exhibit where visitors can come in and jam with each other it’s amazing.

We finished an exhibit that I liked a lot that I think is particularly interesting to your readers. That was an exhibit that we did about the greatest Halftime Show Performances in Super Bowl history. We had it at the museum when we hosted the NFL Draft in Cleveland. Then we worked with the NFL and we took it out to the Super Bowl in LA this year and we’re working with them again to take out to Phoenix for the next Super Bowl.

It shows performances and great moments by Prince when he did Purple Rain in the rain, Bruce Springsteen, The Rolling Stones, Stevie Wonder, Beyoncé – it’s just these iconic moments in American cultural history that happened at the Super Bowl Halftime performance it’s just a really great exhibit.

We have an exhibit which really is the legends of rock and each band has a focus area. That focus area could be David Bowie, Elton John, Michael Jackson – they all have an area that highlights their career. And that’s an exciting area to walk through and to be reminded of these individuals and their wider impact on our culture.

AM: What’s the process for acquiring items for the museum?

GH: We work directly with the inductees and pretty much everything we have at the museum has been donated by an inductee, a family member or the artist directly. We make sure to partner with them. They donate to us and occasionally it’s a loaned item if they still need it! We’ve had artifacts that are on exhibit that an artist needs back because they're touring so a guitar goes out to them and a label says, “currently on tour.”

AM: For those that are in town, how many live shows do you have a year?

GH: We have live music probably about 100 shows a year at the museum. This summer, every Thurs and Fri, we’ll have live music and some of the bands that are still coming this summer – Guided By Voices, Adrian Belew is playing and people can go to RockHall.com to check out what we have going on. There’s all different genres and one of the things that’s important to us is that we just don’t put up a party band that plays cover songs. We want original artists playing original music and we want to mix it up between the different genres whether it’s bands that are heavy metal, classic rock sounding or if they’re Hip-Hop. We love having all of them at the museum and they will be playing outdoors on our plaza.

AM: Like many, I am a fan of music. My great uncle was Joe Henderson a tenor saxophonist, I love various genres of music and here at Athleisure Mag as well as outside projects I have styled a number of known artists or have interviewed them. I know that our readers would love to know more about what goes into the induction of artists for the Rock & Roll Hall of Fame. What are the eligibility requirements?

GH: Artists have had to have made a record 25 years ago to make them eligible for consideration. And then, it’s really impact and influence. You look at did they take the art form in a new direction, did they push the envelope and that’s what they’re recognized for more than chart placement and sales. The process is, there is a ballot made for all those that were nominated. It then goes out to our voters and the largest voting body is all the other inductees. This year, Jay-Z is going to get a ballot, Bono gets a ballot, Smokey Robinson gets a ballot, Madonna gets a ballot, Bruce Springsteen and members of the Red Hot Chili Peppers – they all get ballots. So they vote and the top 5 vote getters are elected to the Rock & Roll Hall of Fame.

AM: I like that the public is also allowed to join in the fun – why was this an element that has been added to the process?

GH: So the fan vote is interesting. During the year, we let fans in the museum voice who should be nominated. It’s always fun to hear that and to understand that. Then when the voting is underway with all of the inductees, we also do a public fan vote and part of it is engagement so that they can engage with us online and let us know who their favorites are. Then we take all the fan votes online and we aggregate them and they count as a composite ballot into the bigger vote. So what it is important for is to see who people are interested in and to understand what they are thinking about. Because the induction into the Hall of Fame is not a popularity contest, those that are in the industry and have made their living off of rock & roll, their votes are really what counts the most because they can judge the merits of their peers. If that wasn’t the case, whoever has the most social media followers would be elected and that doesn’t necessarily mean they they are the most impactful, it just means that they have great music and great followers. We need that impact.

AM: When the nominees are announced, I am sure there are a number of logistics to figure out from who will accept an award for the artist/group if they have passed away and who will perform if there are other artists that will do a tribute versus those that opt to play themselves. Can you tell us more about that?

GH: The show producers are amazing! It’s our Foundation President, Joel Peresman and our Foundation Chairman, John Sykes and they do an amazing job working to create a show that is dynamic and exciting and also appropriate for the Rock & Roll Hall of Fame. They have done a super job working with the show, the production design team and sometimes at its greatest when it’s an artist from yesterday that is being honored by an artists of today and when they perform together – when you have Stevie Wonder inducting Bill Withers and then they sing together and then John Legend comes out and performs with them – it’s amazing! When LL Cool J was inducted, LL was joined by Eminem and by JLo. Just an incredible combination. It’s a desire to allow some artists to pay tribute to those that have influenced them and it’s a chance for other artists to combine that they have meant a lot to. So it’s kind of a neat looking back and looking forward and making something that is even better for that moment in time at that event.

AM: As we’re based in NY, it’s always fun when the ceremony is in our backyard, but for the upcoming 2022 induction ceremony, it will be in LA this fall. Why is it being held there and what is behind the decision of the city that you opt to do it in?

GH: Well there are rock & roll fans everywhere and let’s face it, NY is a big center for music and LA is the home of much of the industry. So those 2 cities make a ton of sense and we also do it in Cleveland which is the home of the museum and the Rock & Roll Hall of Fame. We’re working on a sequence where it goes on between those cities and we’re really excited and honored that Cleveland is in that cadence and we’re looking at how that pans out in future years. We’re really excited and thrilled to be going to LA as it hasn’t been there since 2013!

AM: Looking at this year’s inductees, I was excited about all the names but especially pleased to see that Pat Benatar, Duran Duran, Eminem, Lionel Richie and Dolly Parton are in this year’s group – what are you looking forward to this year?

GH: You know, they’re all terrific and they’re all deserving! I’m looking forward to just being surprised. Every year there are super highlights and it’s amazing as this honor isn't about haing 1 hit record or having a great soundtrack song or something like that. This is a lifetime award that is emblematic of excellence and forever they will be celebrated and enshrined at the Rock & Roll Hall of Fame. This is a really powerful moment for those artists and I can’t wait to hear their speeches and then to see them light up the room with their performances.

AM: I know we talked about the educational elements that the Rock & Roll Hall of Fame is involved in throughout the year. Are there other community programs that takes place throughout the year?

GH: We have a program called Toddler Rock where kids from First Start Programs come to the museum twice a week and we teach them for 15 weeks on rhyming, alliteration, and social skills with trained music therapists. It’s amazing. We have another program where anyone who lives in the city of Cleveland can come in for free admission all year long, everyday – whenever – just come on in! It’s a great community outreach for us and we love partnering with our conventions and business bureaus and other entities around town. When the city is bidding on and trying to attract the NBA All Star Game or the MLB All Star Game, we are in the mix. We are part of the hosting committee and we pledge to be a great partner and frequently they theme the event rock & roll because it is Cleveland. We love doing that and we think that if our reach can do well, then everyone can do well and we want to make that happen.

AM: In terms of the remainder of this year and looking forward to next year, what are you looking to do in terms of outreach and education on the Rock & Roll Hall of Fame?

GH: One, we need to execute on an amazing summer season which is what we are doing. We want to keep going with all of our educational initiatives. We have a traveling exhibitions program where certain exhibits once they are in Cleveland will go out to cities around the country. We're actively working on this building expansion project which is a significant endeavor for the museum and we’re very excited. We have been ramping up our digital presence and we have been adding a lot of Spanish language to what we are doing in our digital outreach. There is a massive group of people that love rock & roll that don’t speak English and we’re very excited to reach out to those audiences as well who do speak English.

IG @rockhall

PHOTOGRAPHY CREDITS | Rock & Roll Hall of Fame

Read the JUL ISSUE #79 of Athleisure Mag and see OUR MUSIC OUR CULTURE | Greg Harris + Rock & Roll Hall of Fame in mag.

THE SCIENTIST OF MOVEMENT | TANISHA SCOTT

This month's cover is 3X MTV VMA nominated Creative Director, Choreographer, Performance Coach and dancer, Tanisha Scott. You've seen her iconic work as a choreographer with Sean Paul in Gimmie the Light and has continued to work with an array of artists from Beyoncé, Rihanna, Lil Nas X, Drake and more. She currently serves as Creative Director for Lizzo, Cardi B and H.E.R. A number of videos and performances that she created have become part of major cultural moments in Hip Hop and those movements have found their way into memes, Tik Tok videos and on an array of dance floors.

Her ability to bring her love of dancehall, freestyle and knowing what is natural to the body transcends her work for music videos across genres, touring and award show performances. We talk about her love for dance, getting into the industry, those she collaborates with, continuing to add to her skill sets and how she continues to leave her mark.

ATHLEISURE MAG: What was the moment that you realized that you fell in love with and wanted to dance?

TANISHA SCOTT: Honestly, dance has been part of my life and I can literally say this without it being cliché – for forever. My parents are Jamaican , my father loves music and he was actually a DJ on the side – not just house parties, but he would go out with his friends and spin. Before I was even born, music was all around within the family. I knew it was something that was super special to me not only because of my shadow – my brother, my sister and my dad playing, but I just knew how much it helped me feel good. It helped me to really open up. I’ll tell you this, when I was really, really young, I had an issue with stuttering and I found that through dance, I didn’t have to speak that much and I can speak through movement and I can express myself and people would smile and laugh and would want to dance too without me having to actually say something and feeling insecure about it. I knew I loved dance and that dance was actually a part of me and a very important part because of that journey. I didn’t realize that until I got older and saw that it actually made a difference for me in my life.

AM: That’s amazing. You were a background dancer for Mya when you first started. How did you transition from being a dancer to a choreographer and adding that to your body of work?

TS: Yeah, reluctantly, I can say that I didn’t want to call myself a choreographer for about a year after Gimmie the Light happened. Gimmie the Light happened because my dearest closest friend, Director X (DMX What’s My Name, Sean Paul Gimmie the Light, Drake Hotline Bling) is also from Toronto. He and Taj Critchlow who is his longtime manager have been so close to me! He didn’t ask me to choreograph the video, he told me I had to! I fell into it, I was scared out of my mind not knowing what to do because I felt that I was a freestyle dancer and that’s all I knew – how would I put moves together for other people? He just told me to figure it out. It wasn’t until I reached out to my mentor, Luther Brown (Janet Jackson Dammmn Baby, Lizzo Juice, Ozuna BAILA BAILA BAILA) who is the king of Hip Hop and stepping in Toronto and he mentored me and a bunch of other kids. It wasn’t until I reached out to him and let him know that I didn’t know how to choreograph and how would I do it? He broke it down to me and said what I would do especially is go to the mirror, figure out some moves, see what looked good on me, put it on some people and make sure that it looks good on them and there you go – from the basic aspect of it.

I choreographed the music video and I was like it’s not going to be much. Sean Paul was singing this song which was older at the time when it came out in North America. Being of Jamaican descent, you know that we’ve heard this song for forever. So it was like, I’m going to do this video for Sean Paul – yes. It wasn’t anything that I had to think of when it came to the movement because it’s what we did in the clubs, in the basement parties so I put all of our moves together and felt how it should flow – did the video and that’s it. Nobody knew that Gimmie the Light was going to blow up the way that it did in North America! No one had any clue of it. That’s how it happened and then before I knew it, people were like, you need to get this choreographer. I would say, the dancer, because I danced in that video but I didn’t feel like a choreographer – so reluctantly it happened – blame it on X!

AM: How does your love for dance, dancehall and being from Toronto inspire and infuse your work?

TS: Oh gosh, I think the reason why it inspires my work is that it’s the only thing that I know innately that I wasn’t taught to do. I was not taught in any kind of professional dance when I was younger, we just did dancehall because I come from a Jamaican lineage, music is all around and that’s what we’re going to do right? I just dance the way I knew to dance where it’s already in my blood. So that, no matter what project I do, you’ll always find a piece of it. I find that my choreography is organic and authentic. I don’t do traditional movement for anything that is cool or in, in style or whatever the trend is. I literally follow suit to what the music calls for. If it’s dancehall, then I’m going to give you dancehall, if it’s Hip Hop, I’m going to give you Hip Hop and if it’s something else, then I am going to give you that. I attribute that to the fact that I am a freestyler where I actually watch and I pickup visually a lot easier and do things that makes me feel good in my body as if I’m about to freestyle as opposed to putting together a segment of moves that are regimented in a specific style or technique of a dance. So I think that that’s how I get to flip flop. You’re always going to get a little piece of dancehall, but at the same time, I’m a battler at heart so if I see somebody do something, I’m going to do it and do it better and that’s the way that I choreograph.

AM: I like that and that’s why it’s authentic because you’re freely leaning into fluidity because that’s what you’re feeling.

As a choreographer, what are you looking for when you’re working with an artist or maybe someone who isn’t even a dancer – is it hard to work with someone like that who doesn’t dance, but they’re going to need to dance for that video? How do you go about that process of making that story and making them feel comfortable and let them dance?

TS: You know what? Would you believe me if I said that I actually prefer artists who don’t dance?

AM: I would actually understand why you would like that because you don’t have to breakdown or have someone unlearn what they do and you can just flow!

TS: Exactly! It’s for this one main reason, they end up becoming a little more fearless in what they do. Because I’m not a trained dancer, I understand the fear or being unsure of how to move, what to do and what looks good. Because of that, I find it very easy to look at someone and tell what their strengths and weaknesses are. I work with both to create something that is signature to them.

For instance, Kelis and Bossy – her whole walk thing, Rihanna obviously with her hips, anything that I do with any artist – Alicia Keys with her walk how she does it to the side and plays the piano with the side – using one hand on the piano but doing it while leaning – it’s so much more interesting to create something that is signature to that person.

Honestly, anybody can choreograph – literally. It’s just a series of movements together to express whatever you want to express. Some people just want to have trendy moves, some people want to tell a story, some people are just a little more intrinsic with their movements – there are an array of things. What gives me joy is working with artists and giving them their own signature imprint so that the choreography is not a Tanisha Scott choreography that so and so is doing. It’s what Tanisha Scott has created that is based off of this artist and that it is an imprint so the dancers look like them, they move in a certain way and that’s what I find more interesting is working with someone from the core and being able to build from the ground up – who are you, what is your persona, what is the zhuzh, what is the story that you want to tell. That is more intriguing and satisfying!

Now, artists that can dance, the palette is open – let’s try tap, let’s do jazz, silks – there is an array of things! What pulls at my heart strings where I just become the scientist of movement, is when I’m like, “ooo this will be amazing” and then you see them blossom, it means the absolute world to me. That is much more fulfilling.

AM: Love that! Going back to Gimmie the Light video, what do you think it is about this video that after all of these years, that reaction is still there? The feeling is still there. Since that video, we have seen tons of amazing things and technologically there are different things, but the song and visually there is that feeling that you still get when you see it. How does it have such staying power?

TS: I’ll tell you something, I feel that it’s because it is so organic and it’s so freeing like you can’t even explain or break it down to how everybody moves in that music video. It was just captured in the right way and it was just a vibe! Like, you can’t fuck up a vibe! Like you can’t not feel a feeling – you know what I’m saying? It wasn’t technical at all! It was just people moving and grooving in a way that was just something that felt good naturally in your body that connected to the music perfectly. Individuals captured it and it made it cool. It was swaggy, it was fun! You had PonyTailz doing the Spidermen, you had Dainty Crime which was a crew of guys in there jumping up and down, it was entertaining. It also didn’t feel like you couldn’t do the moves. Everybody at home wanted to try because it felt like, “oh I think I could do this.” That’s what makes it so good and continues to be so.

It’s like YMCA, everyone can do that and you want to jump in – that’s what I think it is.

AM: I think so too and conversely, we were on set shooting one of our covers and Hotline Bling came out. I hadn’t seen the video yet and we’re all prepping for the shoot and I was asked if I had seen the video. We’re watching this video and I knew it was Director X, but the vibe had elements of Gimmie the Light as well. Of course, I find out that you did that and I can see why I felt those homages to the other video. What was it like being on this project and obviously another Toronto connection – and it was fire!

TS: Yo, Hotline Bling, what made it so special from the beginning is because it was Director X, who had me involved and of course, it was Drake. I remember Drake saying, I need that Tanisha Scott/Gimmie the Light moment. So, I’m like, “let’s do it brother” and I had previously worked with him before. He said he just wanted to let loose – almost like not taking anything too seriously and to just move and vibe. So I was like, let’s go – literally. What made the video so amazing is of course it was beautifully shot, but it was that synergy once again. It was the visuals, it was X's understanding what it takes, it’s Drake that’s part of it. Let me tell you one thing, that man has his finger on the pulse of not what’s new or next, but 2 slots or 4 years ahead. He knew more than anybody, he knew that this was something. He is so smart and he said, let’s just vibe and we had fun. We freestyled and we literally just had fun on set joking around and it became what it became.

Who would have seen me coming up with dances that actually became a meme, people are doing it and it’s a signature Drake move! It was a blessing because I’m working with my friends and we’re honestly friends where we trust each other so much that there’s no micromanaging of anything. It’s like, I’m going to do this and this makes sense to this and it makes sense to that – so let’s do that. Then Drake is like let’s do this and we just made it happen. So trust and just going with your gut and not just doing things that you think is right or what someone else thinks is right.

AM: Well once again, it’s just beautiful and it will be 20 years from now where there will be those relevant elements that have a different vibe in respect to Gimmie the Light but it still has that warmth –

TS: That simplicity.

AM: It’s so simple and I do love an over the top production as well, but I also like when things are paired down and you can focus. No matter how many times you watch it, there’s something that pops up and it just figures that you were involved as well!

So it’s always fun to see your work as a dancer and a choreographer but it’s interesting to see you as both in the same project. Does it feel like a balanced moment when we get to see you as both the dancer as well as the choreographer?

TS: That to me – being a dancer during doing something that’s choreographed, unless I’m freestyling – doesn’t really feel good. But, if I’m on camera choreographing doing what I do, that feels balanced. But if I’m dancing, I can’t perform to my best when I know that I have choreographed for other people are around me and I’m looking for where they are in their space. I’m still thinking as a choreographer as well as what is my artist doing and I feel like I’m cheating – it doesn’t feel good. Because when I dance, I zone out and I let go to be free. In that moment, I’m not on guard. When I’m choreographing and I’m on camera doing choreography or creative, I feel like I’m at home. I’m able to not just express what it is that I do and get the job done, but I want other people to learn as well. There are other levels to creative direction and different aspects of it as well as even for the dancers. There are a lot of things that we can do because the longevity of a dancer is not that long so you have to think of other things to do that can still play into your love of dance – you don’t lose it, but you just evolve.

AM: You look at a person like Debbie Allen who she can still –

TS: I mean queen, queen, queen!

AM: You just look at her and even when you watch her in something that she isn’t dancing in like when she is in Grey’s Anatomy, she has a flow to her movement that when she crosses over to the other side of the room, you’re transfixed!

TS: Preach Kimmie!

AM: I love flow and it doesn’t just exist in dance, but when you see those who are dancers and they still have that style in other portions of their life, it’s beautiful to see! You can tell the flow and musicality that some people have even when there isn’t anything being played.

TS: She doesn’t know this and I never met her but she is such an inspiration.

AM: She’s amazing! She has that eye and you know she’s watching.

There are so many videos where your fingerprint has graced those productions and moments. How is that for you to do it from a video standpoint versus being on someone’s tour with Rihanna versus doing something for TV like the BET Awards? Do you have to think differently Awards? Do you have to think differently for space or just the mediums that are being used?

TS: I do and I’m glad that you asked that question. I think that that’s what keeps me excited because it’s not the same thing over and over again. It allows me to stay on my toes.

So when we breakdown for a music video, a music video has edits and the primary thing about a music video is centering around the artist. So if there is choreography involved, it’s for a specific section. I always have enough dialogue with the director understanding what the environment is – are we dancing in a box, dancing on platforms, dancing on a wet floor, what are the costumes, what is the vision and go from that. I choreograph in sections that I know will be used. If you were to choreograph the whole song, you already know half of that isn’t even going to be seen or used unless the artist is in it. But even so, there are different things that we have to see. That’s one way and how I deal with music videos.

When it comes to tours, I have to now consider not just what the director of the music video is shooting, the type of frame that it is – is it overhead, is it specifically for the camera. With a tour, I choreograph for the naked eye. The naked eye means the expansion of it – it’s entrances and exits because we see everything. You can’t control what one person is seeing when you have thousands of people watching. So it’s the beginning of the song, the ending of the song and how the next song comes in. So it’s the thread that I use and the bigger purpose and I also choreograph the movement for me which is never little. It’s always a lot bigger because I tend to choreograph for those in the nosebleeds that aren’t so close – they have to have some kind of entertainment so that they can see and feel it and you have a successful show.

For an awards show, it’s a hybrid of both. I actually prefer the awards shows because I get to hone in on the director portions that I went to school for about 6 months at the NY Film Academy to learn music video directing. Not so much to be a music video director, I wanted to know how to choreograph and to speak to actors, actresses and dancers and to know what different frames were so I could be better choreographer. So I get to hone in on that when I am creative directing and choreographing the awards shows, I’m able to set the tone – the feeling of this is The Wiz so it’ll be different colors here and there, we have a yellow brick road and we formulate that. Now, how do we put in the choreography into it – this person enters here, that person enters there. Ok great, now with the camera, what do I need to see first? I need a close up shot of the artists walking on the yellow brick road and now I add a steady cam with a 360 turn to a smaller lens where I see 1 person pop up and then the next. We then go to a jib for a wide so I get to utilize everything that I have learned to put together a piece which hopefully, my next dream or chapter, is to be able to do Broadway. That to me is everything from when I do these awards shows because I get to think outside of the box and actually create a real piece. I have my hands in all aspects from set design to lighting – it’s everything to tell what that story is for what I want in that moment.

AM: I really like getting that insight and I expected a lot of what was said, but I really liked hearing about the hybrid environment of an awards show that is a defined box but still a little more open versus other areas. To hear your process in how you work that makes me think of our photoshoots where we’re creating that set, bringing in the team, sketching out the moodboard, bringing in the styling etc to create this concept. So by the time I arrive to the actual set day, I have played so many things in my mind for those hours.

TS: Prep is no joke!

AM: For sure! At some points as you’re actually seeing it all together, you feel like it already happened because you were so immersed and bringing it life in every way.

TS: Oh my God I swear, I think we’re twins!

AM: When you’ve seen videos that you’ve done that have been given various awards, obviously a video is the culmination of what you’re doing, the talent, creative teams, director etc – with all those things coming together and showing everyone’s versatility and work – what does it mean to you to have that award given to a project you were involved in?

TS: I feel so accomplished, so much more than even if I were personally receiving it for myself. When people hire me, I sign a contract in the air – it’s not a real one but it’s where they trust me to deliver to the best. When they are awarded, the team is awarded and/or the video is awarded – I know that I have done my job and that I have gained the trust. I know that what I set out and put out to do happened. I’m definitely a woman of my word. If I say I’m going to show up, I show up. If I say I am going to make something happen, I’m going to make something happen. With these videos, it’s definitely a collaboration – you have a director at the helm, but nothing is independent from one another. The gaffers, the stylists, the stage PAs, like we’re working and a lot of times, you don't know these people and you have never worked with them before, so you have to get on board and have the same common goal. When that’s achieved and it’s achieved with an award at the highest point, I feel so much more pleased with the job because it’s good and then It’s onto the next! It’s all about hurry up and wait and then on to the next.

AM: So with everything that you have done from a video perspective, you’ve also done other things from campaigns to commercials to even working outside of the genre of Hip Hop. You’ve extended the multi-hyphenate nature of your work beyond creative director, dancer and choreographer, but also performance coach. What is a performance coach as you worked with Sarah Jessica Parker for her campaign with Intimissimi.

TS: Ok Kimmie, I like you, I swear you’re asking all the questions. Ok, so a performance coach is involved when there are no specific movements given. But it is having somebody portraying the emotion that they want them to portray through their body through movement. So it can be anything that you do, but it’s just narrowing it down to 10 beats. Now they have the freedom to choose which beat they want to use at this time. They may switch at another time. But it’s always showing you the vein or the box that you need to be within. Like, here are all the treats, you have 20 treats and this is the box. It allows them to be more individuals in that sense.

AM: That’s very interesting. I think it’s great to have those that are multi-hyphenates because they are able to pull from a range of skill sets and that it can be applied to a fuller spectrum so that you’re able to do more than one thing and you have longevity in other places too. The touchpoints that you have crossed by being able to take those skills and to work with George Clooney and large brands etc – it was interesting to see the research and how you have really optimized your talents and why it’s important for people to do more than just one thing.

You’ve been the creative director for Cardi B and H.E.R. which is amazing and what does that role involve for those that may not know what that means in this part of the industry?

TS: I work very closely with both of them and Lizzo is a new client of mine as well in this role. I basically sit with them and it starts off with a conversation about what it is and how they want their music and themselves to translate visuallly numbers that we wanted to add in. It was only supposed to be 1 episode and it ended up being more and it just happened that way.

AM: We saw her recent hosting and performances on SNL. Were you involved in that choreography?

TS: Yes!

AM: Loved it!

TS: It was cute right?

AM: I was watching it and was like, that’s her too.

TS: Yaaas! I did that and I did the creative for it. You know, it’s a new album, it’s going to be a dope album and really good. She is singing, the vibe is so fun – it’s funky. So we’re like, what do we do? SNL is one of the most iconic running shows in the world and I’m like we just need to have people hear and listen to the song. So instead of making a big dramatic set, let’s keep it simple, but golden and sparkly with lights. We just needed to give what the song gives. It was good and a good time and with her hosting too!

AM: Such a fan of her work but to have her hosting and performing on SNL while her series is streaming on Prime Video was amazing.

We’re living in a number of moments right now and in this body inclusivity time we’re in to give space to everyone that has an interest and the talent to do so, I think Lizzo’s show to have someone such as yourself who has worked with so many people to work with these women, really drives home the point that it’s not cool to identify those based on their race, gender, sexuality, body type etc and to dismiss them from opportunities where they can be present and own their gifts. This show is a great way to draw awareness to the opportunities that do exist for people.

TS: I love that! To me, what am I doing this job for – for what? When I think of what my legacy is, I just want everybody to have an opportunity and a moment to have what they want to have and then it’s up to them to continue with it. So give people the tools to be great to do what they want. It’s literally limitless. You’re right, it’s not cool to tell someone that they are not the right look for something. If you have the capability and the chops to do something – absolutely you should. Who is making the decision to defining what the perfect look is for something that is specific. You can have it in your box for what you do, but it should never be generalized.

With the girls, I said listen, we’re going to open up this door and you need to kick it down because I can only do so much for you. There is that aspect of being real and of course, it’s a sisterhood and we’re not here to put anybody down. We’re here to motivate and to uplift but at the same time, I’m very real and I know the kinds of circumstances that I have been through. I’ve been the dark-skinned girl where there was no makeup for you so before for those young kids that didn’t know, there was nothing. So I’d come in with my hat down low because X is calling me and Hype is calling me and telling me to get to set. I’m the first one in the makeup chair and the last one getting my makeup done. So, I’d put on a hat so that no one could see that I didn’t have makeup on. Or the fact that I’m chocolate, you can only have 1 of the 4 girls in the audition that will be chosen. Half the time that I’m auditioning, I’m like, "hey girl, hey girl” who is it going to be this time – well you got the last one so I’m going to be picked this time. You know what I’m saying? I’m not a Size 0 so having to get sample sizes was never the thing so my outfit was always the other outfit. My butt is big. Not being a trained dancer, I couldn’t do pirouettes, leaps and jumps. To this day, I still put myself in class learn and I am in beginners’ classes.

I’m not afraid to learn and that’s also what I tried to teach the girls. You control what happens to you in your life. Regardless of what people want to say and doors that have closed. We have all heard the stories about what happened to Tyra Banks and getting so many doors closed and then of course look at her now. We’ve all had that! But you have to keep pushing and once you push and that door opens, then you have to make sure that you stomp so hard that your foot is cemented into the ground and that they cannot deny you.

That’s what I got, I said don’t look at my face, I put my hat down, I didn’t need makeup, I’ll be there on time, I’ll wear my own outfit – I wasn’t doing choreography, so I was doing freestyle and every time out of those 100 music videos that I did, I freestyled that. I made sure that every single time I freestyled that I would get a standing ovation that would make them clap to make myself memorable. People would say, who was that girl that did this or who is that girl that did that and that’s how I made my mark. I think that that is the reason that I am where I am now because of all the no’s, I took them like a champ and I’m not saying that I never cried or wanted to give up, but I just kept going and every time there was an opportunity, I just said yes and let me figure it out when I get there.

AM: Tell me about the B Project campaign with Good American.

TS: Ok, yaaas! That was so fly to me Baroline Diaz is a VP of A&R at Interscope Records. We had never met before and she reached out to me and a few other women in her network that she didn’t know but admired and wanted all 12 of us to be part of her campaign. It was strictly for boss women that were self-made who didn’t have anything easy but are doing their damn thing. She just wanted to celebrate us and to be able to recognize others. Honestly before I even met her, I thought this sounds fire and when I met her, we had dinner and had some drinks and I’m like, “you are like everything that we need as a network for women that really do truly empower one another.” She doesn’t just say it, she lives it. We even have a chat that we still everyday talk with one another. Baroline is on it! She’s on our Instagram and our socials and she lets us know about so and so who does this and we say, “yes.” Or someone will say that they have something and will ask to get our addresses and they send it out. I’m going to help out someone else in the group with one of her artists. There are a couple of people in that group where we’re all super connected and we’re going to work with each other and help lift each other as well. There are just a lot of convos that go on in the group chat whether we’re helping one another out, sending scriptures or just getting projects going. It is such a great good sisterhood and it’s such a great campaign that I was able to be part of!

AM: It feels like you’re someone who is always flowing from one project to the next project or maybe it’s 80 projects that are all running at the same time! What do you have coming up that you are able to share that you’re excited about?

TS: I can share 2 things – 1 halfway. I am doing something with Disney and in NY so that should be cool! It’s kind of like wowzers and then another thing that is coming soon is that I’m working with Tom Holland and Sasha Lane on this Apple+ TV show, The Crowded Room. I can’t give anything away with this show, but I am so excited! I have the BET Awards coming up with Lizzo! H.E.R. right now is on tour opening up for Coldplay as well as her own tour. I did the creative direction for that. And working with Coldplay too!

AM: Saw that, I’m a huge Coldplay fan. I was like look at her rocking more spaces then just her spaces!

TS: RIGHT! And then Lizzo’s tour is coming and we’ll be announcing soon!

AM: In looking at other things that you have done, I know that at one time you were the choreographer for the Brooklyn Nets Kids dance team! How long were you with them and why did you want to do be involved in this?

TS: I started once Barclays opened up and the Brooklyn Nets became a thing. So I started working with the kids for about 5 years and then I passed it onto the assistant of mine at the time only because I started traveling for work and I couldn’t physically be there! I actually got the job through Jay-Z and my friend who is one of the directors for the female dancer’s entertainment group. For me, I chose to work with the kids because honestly for me, it’s not work for me when I work with children. Because they’re so fearless and they want to try everything, because they’re always so ready to go – I get a lot from them. I just feel really good being one of their first teachers to show them direction on how to learn, how to be, how to respect choreographers, how to walk in and just being part of their journey and helping to help them find who they are whether they want to do this or don’t want to do this as a career. Whether they want to continue or not, to me, that’s the world. I love working with kids.

AM: It’s so important to have a positive influence for dance. I remember growing up that I started in ballet and tap at a really young age. I liked ballet and I remember that the teacher told me that due to my body type there wasn’t a place for me in that arena and that there weren’t any Black ballerinas and that I shouldn’t do it. So, we’re talking the early 80s, I didn’t do it and I just did tap instead. The teacher, I thought at the time, was super nice and I believed what she said.

So to have a teacher that makes sure that you feel seen and allows you to go after something if that is your interest without putting barriers up, made me think that what you did for those kids was amazing.

Now do we know if I would have really done ballet – but I know you shouldn’t tell a 3 or 4 year old that they shouldn’t.

TS: No that’s absolutely right! That shouldn’t have happened. You said it perfectly, we need voices that allow people to be seen and to encourage them and to let them know you’re good enough. You should hone in on what you have and what you want. Golly, you need a second opinion sometimes.

AM: I know! But it was back then, so I didn’t know that there would be a Misty Copeland that would come along and at the time and where I grew up, there was no reference. But it did make me realize from then on that when I would go in whatever space, I fought for myself and place there and if it was something I wanted to do, I would make it happen regardless of what was said.

You also worked for a program with the Block Institute for Autism. Why did you want to be involved in this?

TS: Because I realized that there are things that are bigger than me and that there are things that are more rewarding than the biggest celebrity and the biggest brand. Does it even matter if you can’t enrich the lives of those that are not seen. People are important and if there is a need and especially with dance and what it has done for me and how it makes me feel, I want to be able to work with and teach and empower those that are in my reach. When I got the opportunity it was through a friend of mine that I talked with who worked with the Block Institute. I asked what they did and he explained that they provide extracurricular activities and I asked about dance. He explained that sometimes they would go in the gym and I let them know that I would come in and help and I did it for 3 years.

Life is short. God gave me a gift and it’s not for myself and it’s not for the riches or the popularity – it’s to enrich and to give hope, love and acceptance to others. I’m not keeping this to myself. I don’t like to dance alone! I want everybody to come and dance with me! It was pretty easy and a very quick yes from me. I actually miss doing it and I do want to start something up like that again. I really really do and I just have to make time for it. Thanks for reminding me about it! It’s important.

AM: I liked seeing that. We have been covering various autism stories from Autism Speaks Gala which included noted chefs and Andrew Zimmern was one of the hosts of the night, his son is autistic. It was a beautiful gala at Cipriani’s downtown and then Prime Video has a series streaming now, ‘As We See It’ which focuses on autistic adults and how they engage in the world and their relationship to one another, their families and they aid. It showed the depth of what it means to be autistic and how that can be from one person to the other as it’s not a monolithic experience. So to have someone such as yourself to give of your time in addition to everything you do, to infuse something you love to them is pretty awesome.

TS: Thank you. I really need to do more and it’s not enough.

AM: You do what you can in the hours of a day and I have taken 1 24 hour clock and made it 72 hours!

TS: Ha yes you’re right – let me stop!

AM: So when you’re not doing projects, how do you take time for yourself to have a reset? Because when you’re working with so many people and playing checkpoint, you’re doing 72 hours in a 24 hour cycle and you’re being 25 people!

TS: I’ve never heard it so eloquently stated like that! I literally when I have that time and I’m searching for it right now, I drop everything and go to Jamaica. I’m gone – the beach, the sand, the air – that’s what I need. If I can’t get away, then I’m in my bed watching any type of reality TV – like Love Island!

AM: Have you watched The Ultimatum yet?

TS: I just started! Because I just finished –

AM: Love is Blind!

TS: Yes, I’m still in the first episode, are you watching it?

AM: I already watched it. I am a queen binger because that is how I decompress! I love reality shows for a number of reasons – obviously it’s interesting to be able to see the people, you’re seeing designers coming through and there’s a lot of education that you can learn from the area that’s being covered, regional knowledge, restaurants etc and to know that that’s not you watching it all go down! Because I’m here for the drama as long as it’s not my own!

TS: Yes, same here!

AM: Who are 3 people that assisted you to be where you are today in your career?

TS: Director X, like I said, I’ve never met her before but Debbie Allen. She mentors me from afar there are things that she has done that are just so impressive. I’ll also say, my closest friends that are like my family and my brother and sister. They’re always like, how did you do this – this is great – keep going! Do t his and do that. They also ignite my fire. They give a lot of reassurance from them.

IG @tanishascott

PHOTO CREDIT | FRONT + BACK COVER, PG 18, 21, 26 Carey Bradshaw | PG 22, 25, 29, 30, 32 Courtesy Tanisha Scott | PG 35 + 36 Amazon/Watch Out For the Big Grrrls | PG 39 Ali Page Goldstein/HBO Max | PG 40 HBO MAX/Legendary | 9LIST STORI3S PG 180 Mohamed Sadek/GapFit |

Read the APR ISSUE #77 of Athleisure Mag and see THE SCIENTIST OF MOVEMENT | Tanisha Scott in mag.

COMMUNITY IS THE VIBE WITH D-NICE

As we embrace the reopenings that have taken place all over the world, we remember those days when we were in the thick of lockdown and we all found ways to maintain a sense of community and connection with others as we did it apart. For us and millions around the world, we found dance and music through a global couch party that had the biggest celebrities from Madonna, Michelle Obama, Nile Rodgers and more that popped in every night. We were all brought together by DJ D-Nice who created a daily (sometimes marathon sessions) IG Live event known as Club Quarantine!

Even though we're past those dark days of 2020, he continues to lead his virtual parties while also bringing the next phase with his Club Quarantine Live tour that took place to much success and we can't wait to see his Club Quarantine festival that will take place in LA in 2022! Before he brought us Club Quarantine, being a major event DJ for brands such as Hennessey, he is also an artist who has released solo projects and was a founding member of Boogie Down Productions with the legendary KRS-One and the late Scott La Rock.

We're pleased to have D-Nice as this month's cover and with a schedule that is constantly on the go, as we talked with him between soundchecks for his performance at YouTube's Advertising Week Show with Mary J. Blige at The Apollo Theater, he talks music; the creation of Club Quarantine and its continued evolution; the importance of musical accessibility; campaigns and how he continues to push his brand while being mindful of the community.

ATHLEISURE MAG: When did you fall in love with music?

D-NICE: I fell in love with music when I was around 6 or 7 years old. I remember where I grew up in the Bronx, my aunts – both of them used to collect a lot of records. It’s so crazy because the artists that they would collect would be Melba Moore and Diana Ross and like Earth, Wind and Fire and obviously, you know, that I'm not lying because that was the thing in like the 70’s.

So when you fast forward to like, Club Quarantine and I’m like hanging out in there in this virtual space with Earth, Wind and Fire and Melba Moore is in there, everyday – it’s kind of full circle to me from my childhood which makes this experience for me so incredible.

AM: For those who may not be familiar with your music career prior to Club Quarantine, can you tell us a bit about your background? You were one of the founding members of the Boogie Down Productions with KRS-One and the late Scott La Rock.

D: I grew up in the Bronx. One of my cousins worked as a security guard at a men’s shelter in the Bronx. He asked me to bring him some food and one night, I walked over to where he was working and he decided to introduce me to his friend that worked there as a social worker, which was DJ Scott La Rock. Scott La Rock introduced me to a homeless guy, which is the legendary KRS-One. From the first meeting, I was 15 and Scott looked at me and he must have felt this energy where he immediately said, “you’re going to be in this group.” That’s how I became part of the Boogie Down Productions crew.

AM: Think back to last year, which in many ways feels like 7 years ago, we were all in this gut-check moment. From a magazine perspective, we shot our last in-person cover 2 days prior to when NY went into lockdown. It was that moment of trying to figure out how we would still do what we do and to still produce everything – in a new way virtually; which we did and it was intensely challenging, but fun and full of artistic growth. So, to do Club Quarantine, how did this come about? It was like the musical and mental health that we so needed to get us through what we didn't even know how much time we'd be going through!

D: The thing about Club Quarantine that’s special is that it was birthed out of the same fear that everyone was experiencing! I was quarantined alone at home in Los Angeles. I was gearing up for a tour with Jill Scott. I was locked in for 10 dates on her tour and when we were forced to quarantine, what was difficult about it, which other people experienced as well, was that none of us were prepared for this – including myself! So, when the quarantine hit, I had to send back deposits because they were cancelling the festivals – they were cancelling Essence Fest, Miami Music Week where I had gigs there, I had SXSW gigs. So all of those gigs, I had to send the money back. I was sitting at home, stressed out, like everyone!

Because I had friends that worked with the former administration, they kept saying, this thing will go on for longer than 2 weeks, man. They said that I should prepare myself. I didn’t even understand how to prepare to not work for a year/year and a half. So that was difficult. CQ was birthed out of the sadness and having a desire to still be connected to people. When I started playing music, I wasn’t even DJing initially. I was just playing music and sharing stories and I started noticing the numbers that were rising on my account from one day being 240 people in there to the next day having 800 people in there. Then, the 3rd day, I did a marathon set with like 2,000 people. Initially, it was a very selfish thing, finding ways to stay connected, but by the 2nd day when I was reading the comments, I knew that it was actually helping people feel connected. I just wanted to continue to do it to keep people inspired.

AM: Speaking back to what we were talking about before with the music, I was born in 1979 and grew up with this music. When I listen to a lot of the songs, it reminds me of cleaning the house with my mom and sister before Soul Train came on. How is it to run the hottest global couch party that has ever existed?

D: Wow yeah, that’s literally it – the hot test global couch party! I mean there were times when I literally didn’t look at it that way. It was one of my buddies, Donnie Wahlberg, every day he would say to me, “dude, I don’t think you understand what’s happening.” I didn’t, because remember, I was home alone! I was playing music, I was at home. I wasn’t dancing with other family members, wasn’t dancing with my mom or kids and I wasn’t having parties on the other end. All I could do was just read comments. I would see hearts and that kept me going. But the other thing that kept me inspired was music! It was the love of music where I felt that I finally had the chance to play music the way that I wanted to hear it anyway from my club days. As a DJ, you kind of lean towards what the promoters wanted, what the fans wanted, but when the world stopped, the fans wanted and needed music that kept them inspired. It just so happened to be the music that I love. To have a chance to play David Bowie and mix David Bowie in with Madonna and all of a sudden, Madonna is in my IG Live. Then I could play a Stevie Wonder record and then throw in a JAY-Z and rock Rihanna and then all of a sudden, Rihanna is in there! There’s no better party then that! Everyone had a chance to feel the music and still be inspired and it was awesome. And it continues to be awesome!

AM: Which I think is awesome and I love the versatility of the music. I mean, I love all kinds of genres, my great uncle was the late tenor saxophonist Joe Henderson so I have my jazz elements that I love and I love EDM. I remember when you had David Bowie to Madonna and then you had Nile Rodgers that popped in which I had styled him a few years ago for a project which was awesome to see him come through.

D: I mean, Nile Rodgers, when he came in it was beautiful!

AM: I’ll never forget when I was in his apartment on the UWS and he was showing me his music sheets of his work with Madonna and he was like, "I did this and I did that." I just remember feeling that I was standing in the room of greatness at that moment.

D: Yes absolutely.

AM: The fact that we have actually been able to see how you have evolved CQ from the at home sessions to performing to major moments that you were part of from encouraging people to register to vote, having people vote, social justice movements and then moving that into bringing it live in person such as launching at the Hollywood Bowl and being on the tour for that too, what’s it like to evolve the brand?

D: I felt that it was my job to protect the brand. Protecting the brand meant not keeping the platform to myself and to include other people. It was about authenticity and making sure that what I did online translated well into the live space. My desire to play the Hollywood Bowl was birthed out of seeing so many people in there. Early on in the pandemic, I was trying to figure out what place that this would feel like and would make sense. I wanted to give everyone something to imagine and look forward to when the world opened up again. I just threw it out there and said, “one day, I’m going to play the Hollywood Bowl and be the first show!”

A year and a half later when I received the offer to play the Hollywood Bowl, I was excited! But it didn’t really hit me until the morning that I announced that the tickets were on sale on IG Live and I said, “I have something to share with everyone. My gosh, we got the Hollywood Bowl, tickets are on sale in one hour.” Within that first hour, we sold 10,000 tickets. It was very emotional. To know that something that I did just out of the love of music that started in my kitchen – literally in the kitchen, went on to become something where we sold out 15,000 people in the Hollywood Bowl in 3 days! It's a very humbling feeling and it's beautiful to know that people want to listen to music the way that I do. You have to want to be there to hear the music, the fans want to be there, the art ists want to be there – there were fans that bought tickets to all of the CQ Live shows and we kept it limited. Obviously, we’re still dealing with this pandemic so we didn’t want to be reckless by doing a full on tour. But for all of the shows, there are people like hundreds of people that attended all 3 of them. It’s something special that’s happening right now. The music is secondary when it comes to Club Quarantine. It wasn’t just about the music, it was about community. To me, that’s number one – about people staying connected. By the way, there’s some cool music being played right now and we’re going to dance together as well!

AM: It’s undeniable that live shows have an amazing vibe to them. What are your plans on the virtual side of things as we continue over the next few months, will this still be part of your portfolio or are you looking to segue completely to back where we were prior to 2020 where we could comfortably be together in person?

D: I want to continue to have the virtual space to be part of it. It’s an important element because not everyone can afford to travel to these cities, not everyone can afford to buy tickets. Let’s be realistic. People lost jobs and people are still trying to recover from that. To me, it would be a little bit unfair to just pull that away from everyone and I want to continue to share my love of music with people and to inspire community, so it’s important for me to do this for at least another 6 months or as long as social media will allow me to play. You know, things change, people are outside now so it may not be as exciting, but for me, it’s always important that whenever I return to Los Angeles, I need to play 1 or 2 sets to at least get it in. By the way, I’m not just doing it for the people, I happen to like playing music!

AM: You can tell!

D: Yes! I love playing music, so if I can share music when I log on and there are 30,000 - 50,000 people at the end of the set, that means there is still a need and desire to hear music that way. I just want to be able to fill that need and to continue to keep people inspired.

AM: I love music festivals and it was great to see that here in NY, Governors Ball and Electric Zoo came back. Do you envision CQ having a physical festival?

D: Oh no – it’s not even about envisioning it, it’s actually happening! It’s happening Aug of 2022. We’re literally in the planning stages right now, planning the artists that I want to perform with. That’s happening. August of 2022, the festival happens in Los Angeles.

AM: Earlier this year, you dropped “No Plans For Love” with Ne-Yo and Kent Jones. How was that working on this single and are you working on an album?

D: Releasing the single was fun. It was a different process because we were doing everything remotely with Kent and Ne-Yo was interesting. I wasn’t in the studio with Ne-Yo when he recorded his vocals. It was almost like, when he finished the demo of the song, by the time I heard it, they said Ne-Yo had cut the song. I listened to it and I was excited about it. That song did well, top 5 for R&B for the single. I’m deep on working on the album right now. It was important to me that when we put the record out, we had something to celebrate the 1 year anniversary of Club Quarantine and that’s why we didn’t have an album to follow it up. It was just about putting that single out for people to have a song that they would remember during the quarantine. I’m really happy that the single did well and I am looking forward to completing this project.

AM: You’ve amassed an amazing platform and I’m sure that you are constantly wading through offers of things that you want to do. What's your process in terms of thinking about brand synergies. I loved the Band-Aid campaign that you were part of. What are you thinking of when you know that the brands are interested in D-Nice?

D: Everything that I have done has been important for the synergy to be there. I have to be mindful of a couple of things right? 1. I’m not just a DJ that’s happening right now. I do have history and I have to be respectful of my history. Everything that I participate in, you want it to resonate with the younger generation, but I am respectful of the legacy that was already built and the people that listened to my music back in the day who are still jamming to my music right now. The first project that I worked on during the quarantine was the Apple commercial and that was great because it had Oprah and all of these celebrities in there.

The 2nd campaign I worked on was for Budweiser which was based on the old commercial of “What’s Up” and people checking in on each other. So it was me, Dwyane Wade, Chris Bosh and Candace Parker. That was great!

Then I did the Ford Commercial and what made that so authentically me was that, not only was I DJing in the commercial, did the voiceover for it, I was in it – but my record from back in the day was also a tie in. I thought it was an awesome thing for people to see the evolution of me being a recording artist in 1990 and here we are in 2021 with a commercial that’s updated but still using the essence of who I am which was great.

With Band-Aid, I thought it was awesome to be a person of color and never having Band-Aids that could match our skin tone! It was great to be part of that campaign and to be able to show! But on the other side for me, to see that Corporate America and these big brands actually trust me to be part of what they’re doing and I didn’t take that lightly either.

Throughout my career, what I did was to be able to sustain in terms of how dedicated I have been to do the right thing with people. To work with Michelle Obama and to raise awareness with voter rights and voter registration. Raising money for the Apollo Theater, Breast Cancer Awareness, raising 100s of thousands for HBCUs – it’s important to always use that platform to do some good. Even with those campaigns, I always have to be part of something that wouldn’t just be a good look for me, but to be a good look for people in general.

AM: What is the best piece of business advice that you have received?

D: Honestly, it wasn’t based on any advice that one person gave me, it was based on what I felt in my heart. In the beginning of quarantine, people were offering me millions of dollars and I didn’t accept any of it and it’s because it didn’t feel good to me. It's not that I didn't want to make money, let’s be honest, I am a business man and this is my business, I am an artist. But in that moment, in those very early weeks of the quarantine, to all of a sudden monetize something right before everyone’s eyes when it was something that people needed – it didn’t feel right to me and it didn’t sit well with me. I didn’t want that on my conscious. I wanted to do something that was truly about keeping people inspired and I remember that one of my DJ friends called and he’s a huge DJ, he’s globally known. He called me and said, “hey man, this is the first time that I could actually dance with my family and I appreciate you!” I’ll never forget conversations like that and there were multiple ones like that. I knew that this was something special and all I wanted to do was to play music.

Now, it did become a business months later. We can’t deny that! But even in terms of it being a business, it was important to do things that didn’t push success into anyone’s face. It wasn’t about the money. It wasn’t about diamonds and cars – it wasn't about buying things. It was about keeping people inspired.

AM: You recently became an investor at Maison Marcel. Why did you want to enter this space and will you do anything that is outfaced with the brand?

D: I invested in it because obviously, I’m a wine drinker and I have been looking to get into the space for years. Even before working with Maison Marcel, I was a brand ambassador for Hennessey for nearly a decade of being involved with them. The natural progression would be to own your spirits company or to one day own your wine company. When the opportunity presented itself to be a part of it, I jumped on it. I was first introduced to the brand by my buddy Hassan Smith, who works with John Legend. It wasn’t even about investing, it was, “hey, would you like a glass of wine.” I enjoyed it and he was like, “I invested in this.” Then 2 years later, I became an investor. I’m not sure what we will do in terms of forward facing involvement. I didn’t want to be a spokesperson because I didn’t want the brand to be about me. I enjoy my wine, so I am always going to talk about it. I enjoy the product – so we’ll see.

AM: How do you take time for yourself when you’re not in the midst of playing music, creating music building your brand and all of the things that you do?

D: Honestly, I have to figure that out! The one thing that I am doing is spending more time with my kids. Especially now that school is back. I have 2 daughters. One graduated from law school and I have a younger daughter she’s in the 4th grade so that’s important. Other than that, I enjoy – I mean people think that I’m exhausted. There are times that I am, but I don’t feel burnt out because I truly love what I do!

AM: Your impact on this global pandemic that you gave to people and the impact on the culture throughout your career has been immense! Over the past few months, you have received a number of accolades from Webby Artist of the Year, Shine A Light Award from BET Awards, NAACP Image Awards for Entertainer of the Year and an ASCAP Voice of the Culture Award – what do you want your legacy to be?

D: That’s a tough one. You know, when I think about it, I just want people to know that it’s ok to be a nice guy, no pun attended. It’s ok to be a good guy. What’s happened my entire life over my career was not solely based on talent. It was based on being kind to people and being there for people. So when you think about Club Quarantine, none of this happens overnight. You’re talking about 35 years of relationships in the music industry. Michelle Obama wasn’t on my IG because she heard that I was DJing. That was because I made a phone call and the only reason why I could make that phone call is because I have worked with them and I have been kind to people. In that moment, that was the first time that I recognized that

people came to something because I was doing it. For decades, I was always there doing things for them. To me, it was important that I make sure that I put kindness into everything that I am doing and with one another. Hopefully, that will be part of my legacy.

AM: For #TRIBEGOALS, we talk to trailblazers in the industry and ask them who are 3 people that have influenced you to be where you are today.

D: The 1st person would be Dr. Martin Luther King Jr. for obvious reasons. Obviously, he was Black and dealt with the plight of Black people, but it was also important for him to represent human beings period and that has always been an important part of growing up for me.

The 2nd person would be Stevie Wonder. His music, the storytelling in his music and the feeling in his music has always been an important part of my growing up and even including him in my sets now. Even knowing Stevie and having dinner with him, it's been one of the highlights of my career.

The third person would be, Barack Obama. From the moment that I met him, I'll share a story. One day I was DJing an event that he was hosting, he was still President at the time and we were on Martha's Vineyard. We were in a small tent, maybe 50 people people in total were attending. I was a guest and also DJing and there was this one moment, which was in his last year of his presidency, where I saw him sitting in a corner by himself, people were dancing and I looked over at him. I remember thinking that to see someone who probably had the weight of the world on his shoulders in that very moment, but he was still able to be present with his family and friends was inspiring to see that no matter how much work you have going on in your life, it’s still important to maintain that love and respect for your family and friends. I never forgot that moment and I’m truly inspired by Barack Obama!

IG @dnice

PHOTOGRAPHY COURTESY | D-Nice

Read the OCT ISSUE #71 of Athleisure Mag and see Community is the Vibe with D-Nice in mag.

Hear DJ/Producer D-Nice on our show, #TRIBEGOALS - which is a part of Athleisure Studio, our multimedia companion podcast network! Subscribe to be notified when the episode drops. Listen on iHeartRadio, Spotify, Apple Podcasts, Amazon Music, Google Podcasts or wherever you enjoy your podcasts.

Bingely Streaming

OTHERHOOD

Netflix Originals

When mothers realize that their kids are not responding to them, they take their issue of being empty-nesters and head to NYC for surprise visits. The three mothers who have been friends for decades juggle a bit of mother's guilt on their kids as well as navigating their new state in life. With their sons living their own lives, they find that they see one another less and less - they want to re-establish their connections with one another beyond Mother's Day brunches.

Throughout the movie, we watch them individually work on being noticed in front of their children. But it's also fun to see how they come together to update one another on their progress with their kids as well as how they are supporting one another as they continue to come to terms with the dynamics of their life. These suburban moms also take in a number of touristy as well as typical activities that New Yorkers do each day.

1619

New York Times Audio Series

Apple Podcast

This riveting podcast created by the New York Times and hosted by Nikole Hannah-Jones, focuses on August 1619. This pivotal period in our nation's history, centers on a ship that carried enslaved Africans 400 years ago that arrived to the British Colony of Virginia. Fundamentally, their arrival would mark centuries of slavery. Listeners are taken through their experience and learn the steps that took place that encouraged this environment to become the natural state of affairs.

This podcast also looks at the long shadow it cast in terms of its commodification, the creation of a long battle for freedom, tracing racism to Jim Crow era, electoral politics, prison industrial complex, sugar within African Americans' diets, and more that slavery created by instituting the practice. This story is told through essays, interactive content and looks at, "the consequences of slavery and the contributions of black Americans at the very center of the story of we tell ourselves about who we are.”

FREE MEEK

Amazon Originals

This 5 episode docuseries showcases a decade long legal battle that Meek Mill has been battling. This series starts with Meek at the top of his career as a chart-topping rapper who would transition to being sentenced by Judge Genece Brinkley, to prison for 2-4 years for popping wheelies.

When the ruling dropped, #FreeMeek dominated Twitter feeds and the movement spread to fans and many from his label mate Rick Ross to even his nemises, Drake - stood in solidarity to voice their support for him. The series documents his career, legal woes to being a Co-Founder and partner of REFORM Alliance, a criminal justice reform that was founded by the likes of billionaires and business men Jay-Z and Michael Rubin.

Read the August issue of Athleisure Mag and see Bingely Streaming in mag.

ATHLEISURE LIST | STRONG BY ZUMBA

When it comes to getting a full body workout, STRONG by Zumba® takes its approach to high intensity workouts through music to another level - as this is not a dance class. They partnered with Grammy nominated music producer Sevn (he has collaborated with Travis Scott's "Astroworld" and Beyonce and Jay-Z's "Everything is Love") to create exclusive beats for this music led program that focuses on the innovative approach of syncing music to moves while pushing and motivating participants beyond their limits.

The Athleisure Mag team had the opportunity to try out the class as well as to hear the track created for the class recently. Their unique process of reverse engineering the beats around the routines so that the high intensity moves are seamlessly melded with the music allows integrative motivation. Previous collaborations have included Timbaland, Steve Aoki and Krewella.

This program is a non-dance, one hour group exercise class that combines body weight, muscle conditioning, cardio and plyometric training moves specifically designed and synced to original music. Driven by beats as the ultimate motivator to burn calories while toning abs, legs, arms, and glutes.

STRONG by Zumba®

Check their website for a class near you.

www.strong.zumba.com

IG @StrongByZumba

Read the May Issue of Athleisure Mag and see Athleisure List | Strong by Zumba in mag.

CONTACT HIGH

We enjoyed Contact High, a Visual History of HipHop: Pop Up Experience at the Hasselblad NY Experience Studio in Soho. The exhibition celebrated the recently published book Contact High: A Visual History of Hip Hop by Vikki Tobak, documenting the history and progression of Hiphop and some of its key influencers over a 40 year span.

Curated by Vikki Tobak, based on the bestselling book of the same name, and with creative direction by Fab 5 Freddy and forward by Questlove, it includes works from 60 photographers forming a chronological journey from old-school to alternative hip-hop. The ultimate companion for music and photography enthusiasts, Contact High is the definitive history of hip-hop’s early days, celebrating the artists that shaped the iconic album covers, t-shirts and posters beloved by hip-hop fans today.

On display at the pop up experience were images made with various Hasselblad cameras from Janette Beckman, Danny Clinch, Armen Djerrahian, George Dubose, Jamil GS, Danny Hastings and Jayson Keeling.

Founded in 1941, Hasselblad is the leading manufacturer of medium format cameras and lenses. Made in Sweden, Hasselblad cameras are renowned for their iconic ergonomic design, uncompromising image quality and Swedish craftsmanship. For over half a century, Hasselblad cameras have captured some of the world’s most iconic images – including the first landing on the moon - and helped shape the way we look at the world through genuine photographic artistry. Trusted by NASA and used by the greatest photographers in the world, Hasselblad continues to create products with uncompromising image quality that inspire. In 2016, Hasselblad introduced the world’s first compact mirrorless digital medium format camera – the X1D.

ATHLEISURE MAG: We loved seeing the contact sheets presented in the book at Hasselblad's pop-up experience exhibit. When did you come up with the concept for the book and how long was the process making it?

VIKKI TOBAK: The whole process took about three years for me to write and research the book, but the idea came from me actually working in the music business in the early ’90s. I worked for an indie Hiphop label called Payday Records and Empire Management and worked with a lot of young Hiphop artists. I would coordinate a lot of their photo shoots, so I also met all these young photographers way back then. As I started my writing career and became a journalist working for bigger news organizations like CNN, I saw how they treated their archives, contact sheets, and historic photos and got to thinking about all the photos that I had worked on in my younger days – all the photographers who had these archives they were sitting on. So I set out to tell that story: The story of the photographer and a deeper story of those photos.

AM: How did you go about connecting with and interviewing the photographers and essayists featured in the book to hear about the accompanying stories of the shoots and how the images were created?

VT: I t wasn’t easy because photographers don’t generally like to show their contact sheets, they don’t like to show their outtakes or imperfect moments. So I started by going to the photographers who I already knew and who really trusted me with their stories. One by one, I started reaching out to Janette Beckman, then to Delphine Fawundu, Jamil GS – photographers that I have been on-set with when they photographed young Jay-Z, young Mos Def, young Gang Starr… I started writing a column for a magazine called Mass Appeal while I was researching the book. At first, the photographers thought it was kind of weird, like, “You want to see my contact sheets?” And I was like, "Yeah, I want to hear the back stories and I want to see all those weird photos of the person not looking into the frame or the photos that you shot of what was going on around them to kind of give it a more candid, documentary feel. And they loved the idea because they also like seeing each other’s contact sheets – photographers work really independently, so just seeing the work of their peers and just seeing that all these photos lie on a historic continuum (if you will) was really great. They realized that they were part of this great collective that documented this music, this new music that was created in our lifetime and was really something that nobody had ever seen before. They visualized that music.

AM: Did you have the title “Contact High” going into the project, or did it emerge during the course of the book?

VT: I didn’t have the name at first but it came to me pretty quickly. It just kind of popped into my head very early on. I had a good laugh with myself because a lot of Hiphop is associated with weed-smoking and hanging out. But more than that, Contact High speaks to immersing others into this world, this kind of bubble. It speaks to bringing people not just into one photo but bringing them into the world where that photo lives.

AM: We see chronologically, the first featured shoot kicks off in 1979 in the Bronx with Kool Herc. How is it to trace the past of Hiphop visual culture from its early days as a small subculture?

VT: Because I’ve been writing about the music for so long, I understood that this was the music that started with everyday people in neighborhoods, in communities. A lot of the earlier photos are not of the big stars but are of the dancers, the DJs, the kids from the neighborhood where a lot of the MCs came from. You see photos from the early days of Brooklyn and the Bronx all these places where the culture was born. Those early documentary photos also talk about the fact that this is much bigger than the music and much bigger than just this cultural phenomenon that we now know is kind of leading our mainstream. You can trace the history through the photos from the late ’70s and see it going into other cities, all of which have their own styles. You see it go into L.A., which had a very specific look and feel to it, to New Orleans, to Houston, to Detroit, to Atlanta. All the artists and photos that came out of that are super distinct, with their own flavor. So you have to see it and not just hear it. That’s what the contact sheets do.

AM: How was it to have Fab 5 Freddy as a creative director with the book?

VT: Oh my goodness, he’s a dream. He is a historian, he was a part of the culture, and he also gets this as part of the larger storytelling of Hiphop. As soon as I told him about this project, he got it right away. To be able to go deeper into these photos, he also realized there had never been a real retrospective done of Hiphop photography. Individual artists had sort of had little shows here and there but never on this kind of scale. So he not only wrote an essay for the book (which was incredible), he’s also in a lot of photos in the book.

And when it came time for me to curate the show’s exhibition, which we now have at the Annenberg Space For Photography in Los Angles through August 18 and which we hope to make a traveling exhibit after that, I knew he was the right person to be the creative director because he just got it – he got the whole project. We worked great together. He’s now working on so many amazing things related to the culture: He has a new film on Netflix called The Grass Is Greener about cannabis policy and the history of music in the black community. I like that he is a deeper, broader thinker – more than just about the music and more than just about the style. He sees how all the dots connect, which is why I really wanted to work with him.

AM: Core roots and aspects of athleisure are steeped in Hiphop style and culture. We love seeing Adidas, Kangol, Dapper Dan, and an array of other iconic fashion and culture laced throughout the images and contact sheets. What are some stories that the photographers and essayists offered about Hiphop style from the early days to rising to mainstream as a truly dominant and global authoritative stature?

VT: The whole phenomenon and athleisure wear and just comfort was really something that started in Hiphop, absolutely. Young kids were very aspirational in wanting certain sneakers or wanting a certain look, but at the same time this was all super personalized and all flipped on its head to have a very unique look and feel that was very Hiphop. So they started trends, they started a lot of the sneaker culture that you see right now: Run DMC and Adidas, the whole Nike Air Force 1 movement. A lot of even little details like the baggy sweatsuits, the caps, all that kind of stuff was very much self-styled and sort of remixed, if you will, from mainstream fashion. To see it come 360 now and be thriving as mainstream fashion is really cool. All these elements that were originally just about being an individual are now available to everyone.

AM: Tell us more about your spotlight on the importance of telling the story of women and Hiphop in the book.

VT: It wasn’t really a decision to play it up in the book. For someone who has always worked in the industry (as a woman, obviously), writing about the music for years, women have always been a really strong part of Hiphop, both in front of the camera and behind it. I had so many incredible black women editors when I was a writer; so many women ran the label that I worked for: Lucia Cortez, Silvia Rowne, really powerful women. And then of course the artists….

People ask me a lot, “How did you find all the women photographers in the book?” They were there all along. It wasn’t an effort on my part to become equitable – I wish I could say it was, but it just is. To me it’s just been something that I recognized always, and I think it’s a little bit of a stereotype with Hiphop. If you look at Hiphop as a culture, women have always been super prominent.

Also, April Walker started Walker Wear, and a lot of people didn’t even realize she was a woman because Tupac and Treach from Naughty By Nature were her spokespeople. There was this big wave of streetwear entrepreneurs in the early ’90s, and she should really be commended as part of that: she and all the women stylists who gave Hiphop its look in terms of selecting baggy clothes for Mary J. Blige or a lot of the other looks. I think all those women deserve to be celebrated and remembered.

AM: What have you seen with having such a multi-dimensional audience by design as it cuts across music, Hiphop, photography, portraiture and selfies, as shown with such acclaim, like the dynamic Amazon chart success across categories?

VT: A lot of people say Hiphop is now post-genre, so there’s not just one kind of Hiphop, there’s not just one kind of listener or audience. Hiphop now is global on all levels – it’s not just the subculture in a neighborhood anymore. The elements of it have been appropriated. That’s a loaded word; I guess a better word would be integrated into all facets of fashion and music. Kids in the suburbs listen to it, everyone listens to it, but at its core it will always be a music that speaks truth to power. That attitude will always come through in the photos, that attitude will always come through in the lyrics and all the different offshoot of any music culture. But now it’s a global phenomenon. Biggie has this line in one of his songs where he says, “You never thought that Hiphop would take it this far.” Indeed, a lot of people thought it was going to be a passing fad. It’s just really beautiful to celebrate the men and women who documented this culture that has not just stayed around but now defines many facets of our shared lives.

AM: It’s so interesting – and a treat – to get such an extensive intimate look at contact sheets and outtakes and see the interplay of photographers and artists in the creative journey together. What are some behind-the-scenes stories in the book about how the shoots started and went?

VT: Oh my goodness, I have so many. The one that people bring up most often is the story of Biggie in the crown that was taken by Barron Claiborne because it is a very stern-looking photo. The story behind it is that Barron was a young black photographer who was given the opportunity to photograph a fellow young black man and wanted to go against all the cliché imagery that he was seeing in the mainstream media at the time. He decided to photograph Biggie as a king. The editor of Rap Pages Magazine, a woman by the name of Dream Hampton, saw the importance of Barron’s vision of portraying someone like Biggie as royalty. In fact, that photo was called King of New York. The photo almost didn’t happen because Puffy/Diddy, who was leading Biggie’s career at that time, thought that he would kind of look like Burger King. So there was a lot of behind-the-scenes back-and forth, and it was interesting to hear the “this classic photo almost didn’t happen” accounts. I really like that photo for sure. I would say that’s a really good story.

AM: What are some accounts from the photographers about their work at that time? What cameras and gear were they shooting with, and did they comment about how it impacted the look and feel of their work and narrative?

VT: A lot o f big photographers – Janette Beckman, Danny Clinch – love shooting with medium-format Hasselblads. Lugging medium-format cameras around different neighborhoods, on the subways, is a little more challenging. But they always said it was very worth it. Not only did they produce this very beautiful, serious, historic moment, the Hiphop artist also felt that way. Janette Beckman shares the story about when she showed up in Hollis, Queens to photograph Run DMC. She had brought her Hasselblad on the subway from Manhattan way up to Queens. When she showed up, they understood that she was serious – not just here to take a few snapshots of us but here to really photograph us. Same goes for Danny Clinch for the Big L album covershot taken in front of his stoop in Harlem. Same thing. I feel like the photographers loved using Hasselblad medium-format because it set the tone.

AM: What have you heard from newer photographer fans, who love seeing contact sheets and negatives as a secret workflow?

VT: In digital culture, Instagram, imagery in general is very disposable in many ways, and we’re also bombarded with a lot of it. For younger fans, it’s often hard to imagine a world where you didn’t see the photo instantly or where you didn’t erase any photos. They’re also used to seeing a lot of finished product. The concept of contact sheets is important because it shows the stakes and it shows growth and it shows the artist in an imperfect setting and it shows the photographer working their process out, their creative process of trying to get the lighting right or not quite getting one out of 36 photos or one out of 12 photos right if you’re shooting medium-format.

So for young people, they see that the process takes time, and a lot of mistakes were made. That’s really important in this day and age. I think they really appreciate it - seeing photos of a young Kendrick Lamar in the studio where he looks kind of tired or frustrated recording his debut album. It’s a different Kendrick Lamar than the Pulitzer Prize winner with this amazing album on the other side of the process. So young people are really loving it. Also, just picking up on all those great style elements of the early days. A lot of it has definitely come back, and a lot of younger fans don’t even realize it’s been around for years and years.

British photographer Janette Beckman began her career at the dawn of punk rock working for publications such as The Face and Melody Maker. She shot bands from The Clash to Boy George as well as three Police album covers and documented the youth culture of the era. Moving to NYC in 1983, Beckman was drawn to the underground hip-hop scene where she photographed the pioneers of the culture such as RUN DMC, Slick Rick, Salt-N-Pepa, Grandmaster Flash, Big Daddy Kane, and LL Cool J.

Beckman has published five books: ‘Rap, Portraits & Lyrics of a Generation of Black Rockers’, ‘Made In The UK The Music of Attitude 1977-1983’, ‘The Beckman has publi-Breaks, Stylin' and Profilin' 1982-1990", 'El Hoyo Maravilla’ and ‘The MashUp, Hip Hop Photos Remixed by Iconic Graffiti Artists’.

Her dedication to documenting the outliers of society remains evident in the works she creates surrounding subjects such as Manhattan based dirt bike bandits, The Go Hard Boyz, an illegal girl fight club in Brownsville, New York, and the hardnosed rodeo riders of the River City Rodeo in Omaha, Nebraska. Her work has been shown in galleries worldwide and is in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York and the Musée des Civilisations de l’Europe. She is represented by the Fahey Klein Gallery. She continues to live and work in New York City today. Beckman’s commercial work includes assignments for clients such as Dior, Kangol, Levi’s, Schott, and Shinola.

ATHLEISURE MAG: How did you know you wanted to make portraits growing up?

JANETTE BECKMAN: I always liked portraits, I used to visit a lot of museums like the National Portrait Gallery in London as a kid and stare at the paintings, imagining what life was like in the 1800’s or whenever.

AM: Tell us about the London punk scene in the late-70s and how you became immersed?

JB: I came out of art school and the punk and youth culture scenes were happening on the streets. I was always into music and style, so it was natural for me to start documenting what I saw on my doorstep. I started working for a weekly music magazine called Sounds and soon was photographing 2 or 3 bands a week.

AM: What led you to NYC in the early 80’s and how did you start photographing rap groups?

JB: I saw my first Hiphop show in London in the fall of 1982 and that Christmas I came to NYC to visit a friend. The trains were covered in graffiti, kids with boomboxes on the platform. I loved it.

AM: What were some of the first Hiphop concerts that you attended, and how did the blend of DJs, rappers, break dancers and graffiti artists speak to you and what you saw with the culture at large?

JB: The first Hiphop concert was in London in 1982. I was blown away by the sounds and visuals, rappers, DJs, graffiti writers, break dancers all on stage together - I photographed Fab 5 Freddy, Grand Mixer DST, Afrika Bambaataa, RockSteady Crew, Double Dutch Girls, Rammellzee, Futura, Dondi - legends of the culture.

AM: Tell us about the 1984 shoot with Run-DMC for The Face magazine.

JB: The British magazine The Face commissioned me to photograph Run DMC. They gave me a phone number, which turned out to be Jam Master Jay’s mom’s house. I spoke to Jay and we arranged to meet at the Hollis subway station. Hollis turned out to be a leafy suburb in Queens. I walked down the street with him, met Run DMC hanging out under the trees on a spring day with some friends, and began taking photos - I got that shot in the first few frames. It was really a moment in time.

AM: What camera and lenses did you shoot with? How important was it to be shoot-ready when approaching shoots those days?

JB: I had a Hasselblad with an 80mm lens, I had 3 backs (12 shots in each), always ready/loaded.

AM: What was it like to work with Def Jam?

JB: Def Jam was a small label. I was also working with other small labels like Next Plateau and Sleeping Bag. They would bring their artists ’round to my studio. I had shown my portfolio to Lyor Cohen and Def Jam started to hire me. The first shoot I did for them was when Bill Adler, the Press Officer for Def Jam, brought LL Cool J to my studio for his first press shot.

AM: We loved seeing the early Afrocentric style reflected with your work with Tribe Called Quest. How did this come about and what was the day like?

JB: I was a huge fan of Tribe Called Quest and Hiphop style was becoming more Afrocentric. We decided that we wanted to shoot in nature. We were in NYC and the trees were still bare, so we went to the Chelsea Flower Market and found this greenery. The band had their little cousin with them and we had him in the shot too.

AM: What are some of the similarities and differences between shooting album covers and magazine candids and portraits?

JB: Album covers are square, you have to think about that when you are composing a shot. Magazine pages are usually vertical.

PHOTOGRAPHY COURTESY OF CONTACT HIGH: A VISUAL HISTORY OF HIP HOP, BY VIKKI TOBAK | Fugees - Jayson Keeling | Jay-Z – Danny Hastings | Kanye – Danny Clinch | Memphis Bleek - Armen Djerrahain | Mos Def - Jamil GS | RUN DMC – Janette Beckman | Salt-n-Pepa – Janette Beckman | A Tribe Called Quest – Janette Beckman |

Read the May Issue of Athleisure Mag and see Contact High in mag.

WE ARE SPORTSCENTER

We grew up watching ESPN to catch highlights of our favorite games and to see what was going on in the world of sports. Without a doubt, SportsCenter is the essential destination to stay in the loop on whatever games are taking place in the world. Regardless of the time slot that you're viewing it on, it's the anchors that become extensions of your sports action, friends and family. 

There's always something amazing going on in the world of sports; however, we were pumped to head to the headquarters of ESPN during the NFL's Free Agency and right before Selection Sunday of March Madness! Being in the midst of the energy, history, bumping into sports analysts, former coaches and more was definitely exhilarating and a lot of fun!

We are thrilled to profile and share the journey of these anchorwomen of SportsCenter, from what stations they came through, what their timeslot of SportsCenter is like, how they feel the state of women in sports/sports media is and how they balance life. We enjoyed shooting, styling and chatting with them in their world (at work, working out and outside of work) and sharing it with their fans! 

Although we didn't talk to all of the anchorwomen of SportsCenter, we enjoyed walking in the shoes of Sarina Morales, Toni Collins, and Dianna Russini - three women who lead busy lives covering up to the minute stories, prepping before they are on air and living their lives.

ANCHORWOMAN | SARINA MORALES

SPORTSCENTER @ 7AM

ATHLEISURE MAG: We see you on SportsCenter and everyone has a story of how they got to this point, can you tell us where you're from, what college you went to, what stations you came through and whether these jobs were in sports coverage or other areas?

SARINA MORALES: I’m from the Bronx, New York. Woot woot! I went to Syracuse University. Whose house? Newhouse. As for my job path, that’s a good question. I don’t even know how to answer this because mine was definitely the road less traveled. When I started at ESPN someone was like 'Oh, where did you come from?’ And I was like, ‘Oh, I’m from New York City.’ And they were like, ‘No, what station did you work at?’ And I was like, ‘Oh, I came from National Geographic.’  They were just like, ‘Oh … OK.’ I was like, ‘Yeah, what’s the big deal?’ But I had never progressed on the so-called natural track.

A little background: I practically moved to London after graduation because it was 2008, the market crashed and I couldn’t get a job. When I came back to New York, I applied to be Nike's field reporter. It was a new position where I would get to interview all of their Nike athletes. Ethically, traditionally, you didn’t take these jobs as a journalist. But I understood what Nike was trying to achieve, being that they’re pretty innovative and creative with the way that they approach commercials and their technology and whatnot; this was a brand actually allowing a reporter to get inside access and create content.

I worked for Nike for a little over a year. And then after Nike I applied to News Channel 12 in the Bronx thinking. 'All right, here is my moment. I'm going to get a reporting gig and start my career in journalism.' And apparently that Nike job hurt me in a sense. They thought it was branded. They were like, ‘Well, you’ve interviewed all these celebrities, why would you want to work in local television?’ I was like, 'because I want to grow my work as a reporter and I want to start my career in sports.’ They said no and I ended up working at an investment bank to pay the bills.

The path from there was disjointed: Sideline reporter for Verizon Fios on the side, covering high school basketball in Staten Island. Then TruTV as a digital coordinator where I worked on shows like ‘Impractical Jokers,’ which was super fun, but I had limited job growth.

A year after working at TruTV, I came to a crossroads where I had an offer from CNN’s new morning show as a production assistant and an offer from National Geographic Channel as a social media coordinator at the same time. It was a risk for me to turn down the CNN job, because again, since graduating from Syracuse, all I wanted to do was to be a sports reporter, and yet, something in my gut told me to take the job with Nat Geo. So I moved to Washington D.C. 

At the time, the VP who oversaw the marketing department said to me, ‘Listen, I know you want to work in sports, I know you want to be a sports reporter and be on TV, but I think you can find some fulfillment in this position. If you can work in sports in this job, do it. If you can do so some on-camera work and do interviews, then do it.’ So I did just that. I would tweet from the Nat Geo Wild account on Sundays like, ‘All right, the Chicago Bears aren’t playing all that well, but we’ve got real bears playing really well on Nat Geo Wild.’ 

I looked at the job so differently. I was helping grow the social media accounts for their Sunday programming.

In the year and a half I was with them, I was promoted from a temporary, to full-time social media coordinator, and ended up being a manager of the social media accounts at Nat Geo. I worked on the Nat Geo ‘90s special, I grew their Facebook page on Nat Geo Wild from 300,000 followers to 6 million in just over a year that I was there.

I was just so fully involved in the social media job at Nat Geo that people were like, ‘Let’s give Sarina some opportunities to host the talent show. Let’s give Sarina the opportunity to be the face of this ‘Explorers’ contest.’ And it was that contest that caught the eye of Rob King at SportsCenter at ESPN. He brought me in for an interview. He saw that video I did for Nat Geo because I uploaded it to YouTube.

And ESPN, what great timing, kind of saw that I had some value with my background in social media, my background in journalism and my background in sports that that would be a really good combination to come and work at ESPN.

So, no stations, just a lot of random jobs that kind of made me a good fit for ESPN.

AM: Were you an athlete in college and if so - what sport?

SM: So, I never made it to the collegiate level playing softball or baseball or volleyball - I played those throughout highschool. But I did play baseball in the Bronx for 10 years growing up. From age 7 to 17, I played. You know, at first it’s cute, right? There’s a little girl playing and there might be a few sprinkled around the league out of an 8-10 team league. There were fewer and fewer of them as I got older. By the time I was 14 there were two and they were both on the same team – it was me and this other girl. And then 15, 16, 17 I was on my own. I played in a league outside of my highschool.

I thought I was going to play college softball until I popped my hamstring my junior year, which is usually when athletes get recruited to go to college. I practiced with the baseball team at DeWitt Clinton High School my junior and senior years. So I was practicing with the baseball team, playing on the softball team. I came back and I had a really strong senior year playing softball, so I got looked at by other colleges, but no D-1 schools. At that point, I realized that if an injury like this can come pretty easily and take me out for a season, then I really need to focus on academics. So no, I never played college-level softball, but my dream before really focusing on journalism was to become the first female to play for the Yankees. I was going to take Bernie Williams’ spot in centerfield for the Yankees. It didn’t happen, so I went to Newhouse instead.

AM: When did you first realize that you loved sports and how did you know that that would be a career for you?

SM: The first time I realized I loved sports was – I can’t remember the precise day – I guess I was 5- or 6-years old and I was watching Saturday morning cartoons with my father. I was sitting on the couch with him. Usually, my mom would kick me off the couch and have me go play Legos or whatever after Saturday morning cartoons were done because she didn’t want us watching TV all day. My dad would stay though, because on weekends they would have afternoon Yankee games – Saturday or Sunday 1 o’clock games. So one day, I sat next to him and stayed. I was like, ‘I’m not going to move. I’m going to see what’s going on. I’m going to sit on the couch with Pa.' It was good family time, so maybe my mom decided to not kick me off the couch. Once I realized I what I had achieved, I was like, ‘All right. I beat the system. This is good.’ The wise 5-6 year old in me hung out watching baseball with him, and naturally, I just started asking questions. The inquisitive mind wanted to know: ‘What’s that white thing called?’ And he’s like, ‘That’s a base.’ And I was like, ‘What does that do?’ And he was like, ‘Look at this 5-year old child asking random questions.’ I was like, ‘Who is No. 23?’ He goes, ‘Oh, that’s Don Mattingly!'

I asked him enough questions and I beat the system to where on weekends I was always sitting down after cartoons and watching afternoon Yankees games with my dad.  So it was great that after a couple of summers my dad was like, ‘Maybe I should put my daughter on a team.’ 

I caught this one ball that was hit to me one game and I earned my spot in leftfield for the first baseball team I played for. We won the championship my first year playing baseball for the Marlins. It was the best feeling to win and to beat everyone and know we were the best team. The best feeling was the smell of the grass, dirtying my white pants and putting stirrups on and kind of started to learn superstitions. I had to have my stirrups washed with my socks laid out before the game a certain way. My dad would buy me new cleats almost every season and I had to have my batting glove on one hand and not the other. It was the best feeling in the world to have that ball, catch it where the glimpse of sun would hit it as it falls into your leather glove. It’s just the best feeling. And that awesome summer breeze and the ice cream truck music would play and people would be shouting different things. You’d see people peeking through the metal fence to watch at Harris Field in the Bronx. I just fell in love with it. There’s nothing better than the noises and the smells and when that ball connects with that bat and the timing is just right, when you’re using aluminum bats, that clink is both scary and then exciting. Because it's like, OK, you're either running to catch that ball in the outfield and diving to make the best catch ever or you’re the one making that contact and you know it’s going to drop in the perfect spot and you’re going to get to second base. So, I knew by 6- 7-years old that I wanted to be in sports somehow.

The career was going to be, Bernie Williams, see you later: Here comes Morales, starting center field for the Yankees. I still didn’t decide on a walk-up song or anything.

AM: Even in 2017 we still focus on women in media - especially in sports and how we continue to break barriers - where are we in our journey as a collective?

SM: I think we’re in the middle somewhere. The norm is now a woman is allowed to be on TV and talk about sports. And that is something that is becoming more normal. But it's all forward-facing jobs. I’m just seeing at ESPN us getting female producers. It is becoming normal to see two female anchors hosting SportsCenter together. Forget what tweets they’re going to receive and the criticism that they’re getting, it is something at least more normal and accepted. It’s funny, a friend of mine said the other day that we had hyped up a lot having four females on ‘Around the Horn’ for the first time ever this year, in 2017. And we hyped it up. It’s a big deal. And it is. It’s a huge deal to have four females being guests on Around the Horn. But we are in 2017. So we’re definitely not to the point where it’s normal to have that, which is absolutely ridiculous with the amount of females covering sports now. Forward-facing talent, we’re getting there. I don’t think we’re anywhere close to equality in terms of  
we're still going to see all the criticism.
We’re still going to get more comments about our looks than about what we're actually saying an the words that we use. I don’t think you really hear a lot of women doing play-by-play.

The producers, people who are making business decisions and higher up producers making larger content decisions, I don’t think there’s been a lot of opportunity for women there. And until there is someone that breaks that mold, the first person that does it is going to have the most difficult time. I'm so impressed by someone like Linda Cohn or Chris McKendry or Robin Roberts, Hannah Storm and Suzy Kolber - these women were pioneers. It's just so difficult, I can’t even imagine. But they made it so that it is normal for me to be on SportsCenter. Which is crazy. It’s just the generation before. So, I would say we’re in the middle if not lower middle. Low meaning we haven’t gotten anywhere and high meaning this is the best and it’s equal all around. So we’re not there yet. We’ve made improvements, but women in sports media are far from the norm.

AM: Who were your mentors that assisted you in getting to where you are today? 

SM: I would say I have two mentors, now three. But my first was Harold Tamara. I interned for him while I was at Syracuse. Harold did not go to Syracuse, but I worked with him in digital media one summer when I was in school and he was so supportive as a mentor because he pushed me to think critically. He was the one who told me to get on Twitter. He was like, ‘If you want to do storytelling, then here’s another vehicle for you to do storytelling.’ He put me on to do interviews for different digital projects that he was working on and he just took chances on me. He showed me so much respect and taught me to think in unconventional ways. He pushed me to go study abroad. He pushed me to think critically, to think ethically. And so, Harold long term is still a mentor to me today. He’s helped me when I think about stories. He’s helped me when I did an interview with Laurie Hernandez recently. He talked me through the piece that I wrote for The Undefeated.

Another mentor is Hayes Tauber who was one of the people that hired me at National Geographic. He said, ‘Take the job at National Geographic. Be the social media coordinator here and then move up and make the space that you need and make the job that you need it to be so that you feel fulfilled and we can help you grow personally.’ And right now, Adnan Virk who is on ESPN is another mentor to me. He’s the one who has kind of made sure that I’m meeting with the right people at ESPN. He’s being critical of my work and giving me support when he thinks I've done well and talks me through questions that I’ve had being new in the journalism space – or I should say ‘conventional’ journalism space – because I when I look back at my work, I’ve been practicing certain aspects of journalism this whole time. It just wasn’t conventional. He’s been very supportive here at ESPN.

It’s funny that it’s been three men who have made the most impact but I’ve said this many times before, I think women can’t be their own cheerleaders because we’re fighting for our own selves to make space. I can say that Linda Cohn has certainly been a mentor to me in giving me advice here and there, but for long-term purposes it’s been three different men and again, that’s critical because those are the
guys who can speak up for women because they have a voice that women don’t have still.

AM: SportsCenter is such an iconic show - tell us about what you do, your time slot and what's a day like on an off the set?

SM: My job for the last year at ESPN has been co-hosting on SportsCenter A.M. with Kevin Negandhi, Jay Harris, Jaymee Sire and the newest and very valued member, Randy Scott.  So there are five of us on the show. It's been a year now, or just over a year, of being a part of that show and working with great producers like Mark Eiseman; Heath Henry – he’s the CP of the show; Scott Clark helped us launch the show.

It was the first time we ever did such an early SportsCenter. It will be part of SportsCenter and ESPN history and that is such a big deal. So, every day I wake up at 3 o’clock in the morning. I get ready and I’m in to work between 4 and 4:30 in the morning and I’m looking at the rundowns. It’s a three-hour show, so there’s a lot of stuff that needs to get in there, but we get to digest and break down the bigger stories in sports, which is great.

Plus, we’re the first SportsCenter that people are waking up to. We used to just re-air Stan Verrett and Neil Everett overnight until the 9 a.m. SportsCenter, so this is great that we’re starting at 7 a.m. I go through the rundown when I arrive and see all the stories that we’re going to talk about. I’ll write in leads to video. I’ll do some extra research for some of my shot sheets that I’ll use to talk through highlights. If there are things that aren’t in there, this is the time before the show to question it. Like, ‘Hey, overnight I saw X, Y, Z …’ There was a day that Simone Manuel became the First African American female swimmer to win a gold medal in swimming at the Olympics. To me that was a huge deal. Yet her story wasn’t in the top of the show and I felt strongly about her being on the top of the show so that was something that we had a discussion about after she won. Michael Phelps had also won his Xth gold medal, but at the time I thought that was really important, her making history. There was a time when you had segregated pools, now you have this woman, the first black woman to win a gold medal for team U.S.A. in the Olympics. I felt like that was so important and needed to be in the top of the show because, again, as SportsCenter, as the first show in the morning, we set the tone for everyone else in sports that day and to have that understanding  is important. We have to really hold ourselves accountable to set the tone for the rest of the sports day. So, it's a great position to be in. I suggested the story, we got that in. So that is the first part of the day. From 4 a.m. to 10 a.m. it's working on the show and executing all of that on the show. After that, we have a post-show meeting. I might have some meetings that will take me to maybe noon and then I’ll go home and take care of my personal life and naps and start my work day, again, at 6 o’clock, 7 o’clock at night where I regroup with the producers on a big e-mail chain about who is going to be on our show the next day. I put on the TV, I watch SportsCenter or I put on whatever game I want to watch and take some notes. I go on the internet and see what stories are growing. And then whoever is our guest that day, I’ll put together some questions for them. So we start the production process overnight and we have a great overnight crew that also puts in stories. They’re watching games for us if we’re not up to watch them. So the workday is broken into two parts. It’s a long day and it takes a lot of work, but because we have such a great crew and everyone is working and putting into the show, it kind of makes you feel like the work that you do matters.

AM: How do you juggle your personal life against the demands of ever changing news?

SM: It’s super difficult to juggle the two and I’m really bad at juggling, so there’s that. It’s really about the people that you keep around you. So luckily for me, Jaymee Sire being on the show with me is one my first friends that I had at ESPN. ESPN is such a huge company. There’s about 4,000 people just on the Bristol campus alone so being where you’re working, a lot of people just end up being friends with people at work. And at that point, there’s an understanding of, ‘Sarina is getting up to work at 3 in the morning, she can’t go have dinner with us.’ That’s a basic understanding. Dating is very difficult. I think that finding someone who works in sports and understands sports has been extremely valuable to me and also we can talk about everything.

Dating someone who understands my job and the demands has made it a lot easier because if that wasn’t the case, I’d be pretty miserable. My family, my mother has been super supportive. She’ll watch the show from her phone. My boyfriend wakes up every morning to watch the show and watch it with me, almost. As he wakes up, he watches it and gives me feedback on things throughout the three hours. If he sees something that he thinks works for the show, he’ll send it to me overnight. So having someone who knows the workload, who understands the sports world, who understands my job makes it a lot easier to then fit in those personal spots in the rest of my life. It’s so much more clear and easy. And again, having Jaymee, who is one of my closest friends here and at ESPN, to work with her Monday through Friday, to have our dinners on Wednesday nights, once a week we meet up and just kind of hash out and relax and the understanding of, ‘Hey, let’s have dinner at 4 o’clock,’ is not an odd thing to request because we’re both on the same schedule. So it’s really about the people that you keep in your life and those people have been very, very, very supportive. I couldn’t do all of these things without supportive people. That has made my life so much better and made my career and my career growth stronger in a lot of ways because I’ve had people who are strong for me when I can’t be.

AM: Who are your favorite teams?

SM: Oh, easy. The Yankees, Bronx Bombers, let’s go, pinstripes. The Knicks, which has been tough over the years but I always brag about the ‘90s Knicks with Charles Oakley and Anthony Mason (R.I.P. to Anthony Mason) and Ewing and Starks, that team, what the Knicks did for me was just taught me to just be such a hustler and to work hard. Just that mentality of New York. And the Yankees have always been an example of how to win. Being a kid and a Yankees fan, it taught me the winning mentality of you can be down in the ninth inning and win the World Series if you have Mariano Rivera pitching for you. So I learned a winning mentality from the Yankees. The hustler in me is definitely from the New York Knicks.

And the Giants, they’re just a stress factor, but it makes the football season really interesting. And obviously, clearly, probably the most influential team in my later years is the Syracuse basketball team. My eyes were drawn after the 2003 NCAA championship that they won. I applied to Syracuse in 2003 and it was apparently the hardest year to get into Syracuse, the year that I got in, because everyone applied and everyone wanted to go to Syracuse after winning a basketball title. So that was huge for me. Syracuse Basketball, another stress in my life, but for the better and going to the Final Four last year was such a great experience. Syracuse basketball keeps me busy all year round.

AM: March Madness is here - what's that like and how does it affect your normal day to day as you head into the office?

SM: March Madness is the greatest thing that’s ever touched the world of sports, besides the Yankees. I love March. It’s my favorite month. It’s one of those things where you just never know what’s going to happen. The games are exciting. I love watching these Cinderella teams trying to make their way to the second rounds, to the Sweet 16, to the Elite Eight. And it’s one-game elimination. It’s a genius, genius way to get basketball fans excited. The Thursdays and Fridays that they have all the games, that weekend, it’s great to work at ESPN, because I usually would have to take off from work for those days to watch all those games and now everybody has got a TV at their desk. You can just watch these games and it’s been so great to work at ESPN where everyone will have their TVs on. Everyone will watch them around lunchtime in the cafeteria so it’s like a joint force of excitement. People are all watching like, ‘Oh! Put on this one! This game is crazy! Oh, this one is close!’ There’s always a buzzer beater. There’s always one where it’s like, ‘How did this one happen?’ I had Michigan State last year going to the Final Four and with them losing in the first round, it made me feel a lot better about life because even though my bracket was messed up, then Syracuse had a shot of actually making it to the Final Four. So, it’s just so great. It makes my job more interesting and I’m very grateful to have the job because I get to watch sports and this is like the best time of the year to watch sports.

I actually went down to Brooklyn to take over the Syracuse social media accounts for the ACC Tournament. So here’s an example of this time of year making my job a little stressful. I went on SportsCenter that morning at the normal time, so got in at 4-4:30, did the show, left at 10 a.m. and drove over two hours to Brooklyn to watch Syracuse play Miami and I did a Syracuse Athletics Snapchat takeover, being the super fan that I am. I got to take in the game and be a storyteller again and that was a cool perspective, because I was able to panic for my team as well as show what panic looked on other fans’ faces as well. And then after the game, I had an even longer drive back to Connecticut to do the show the next day, I mean, I worked a very, very long 16-hour day to take in college hoops, but it’s so worth it. To be there live, that was a close game Syracuse had against Miami. We lost, but seeing Jim Boeheim at the press conference after the game and hearing typical Jim Boeheim comments, it was all great, it was all worth it. And it was fun to be able to do storytelling again via Snapchat.

AM: For this feature, we included Dianna and Toni - how much, if at all do you cross paths in terms of being on set, working on projects etc?

SM: Dianna works in the evenings, and Toni works on the shows right after I do. So it’s sort of like me and then Toni and then Dianna as far as like the timeslots. So because of that, I don’t have opportunities to work with them directly on any specific projects, but it is nice that we can throw support at each other. I tossed to a great piece that Toni Collins worked on just the other day, with the Dominican Republic World Baseball Classic team and how important that team is to the community and raising money and just the community feeling good about themselves as something that gives the community hope. After the show she walked past me in the hallway and said, ‘Hey, thanks for promoting my piece.’ I was like, ‘Absolutely.’ Again, we don’t get to work on projects necessarily, but we can support each other, because it’s a rolling day. At least we have it spread out. It’s not like they threw all the women together in one time of the day. We’re spread out so we can take the day and support each other throughout a 24-hour period.

AM: During our shoot, we shot you guys working out - tell us about your workout routine and how you stay fit? What are 3 exercises that we should do for tones arms, abs and legs? 

SM: It’s difficult for me to work out with these hours because I used to wake up and work out first thing in the morning. But because the sun isn’t out, I don’t run outside before work. So after work I’ll usually try to get in a run. Especially during spring and summer, I’ll run outside. I did two half marathons last year. I can’t even count anymore, how many half-marathons I’ve run. I ran the New York City Marathon I think four years ago. So, running is my escape and it kind of fills  the competitive void that I have, that I used to satiate playing baseball. Running for me has been a great sport that I’ve found that I can work on individually. I’m trying to pick up golf and I’ve been doing a lot of yoga in the early evenings. So I say a mixture of yoga and running have been my two things that I do to keep in shape and to keep mentally healthy as well. I think those two sports are good for both. I also go to the batting cages, too. You can find me in New Britain hitting 80mph balls on a good day.
 

Three things that I do: For legs, I would start with any squat. I’m big on squats. So, jumping squats or something with a weight, holding a dumbbell and doing a squat. Sitting in a chair position I think is great. Or any kind of jumping in general I’m big on for your legs, because it also exhausts the rest of your body. You’re getting your heart rate up. Another all-body workout is jumping rope. I’ll even do it in front of the TV in my apartment while I’m watching a game.

For abs, I do an elevated crunch. So I just balance myself on either a Bosu ball or a place where I need to keep my balance and then do a crunch that way. I think planks are great for that as well and a lot of workouts that I do for my legs and my arms also I use my core to keep myself balanced. So if I do a squat on a Bosu ball, then I’m also working on my core in that way. So I think a lot of the workouts that I do are core focused, even if I’m not doing a crunch of some sort. I also think yoga is really good for my core as well.

For my arms, I’ll do pushups on a Bosu ball. Those are great. Or with a medicine ball, doing one-handed pushups. They’re awesome. Again, I think they help the core a lot.

AM: Who do you like to listen to when you work out vs when you're out and about?

SM: When I work out, I usually try to listen to – depending on the run I do – it might be something really calm like Coldplay or it might be something really high energy, like we’re going Jay-Z or we’re going home. But it depends on the day and the mood I’m in. If I’m out and about, if I’m driving on a long road trip or something, I usually try to put on a podcast. I know a lot of people listen to podcasts when they work out. I have a hard time doing it because I just want to kind of zone out and hyper focus on my breathing. But I do love to put some really good high-energy music on when I’m using weights. If I go for a long run or in yoga, obviously, I’ll do something that’s a little more mellow so I’ll zone out. There’s been a couple races, like I’ve done four-mile races, where I’ve literally played the same song on repeat the whole time just to help me reset and go back into this zone of hyper focus. Music is very helpful for me when I work out, so if anyone has new music to send me, I’ll gladly accept.

AM: You're always on the move, what do you eat for great energy to keep you going and what do you love to splurge on?

SM: The secret to success is overnight oats. It’s awesome and for me is also good because I’m allergic to wheat. So I get gluten-free oats and again, because I’m so tired in the mornings when I wake up, the most I can do is make my coffee. So I don’t really want to think about making anything else or preparing in the morning. So with overnight oats I'll get some gluten-free oatmeal and I’ll pour in either soy milk or coconut milk, rice milk, really any type of milk that you want to use, and pour that in with the oats and put some honey, cinnamon, some nutmeg and some vanilla for taste and I'll let that sit overnight in my fridge, and in the morning if I have some raspberries or blueberries I’ll throw that on top and put it in a mason jar and just put the cap on it and take it with me and eat it when I get to work. So that’s a very easy breakfast. It’s filling, it’s healthy, I’ll put some chia seeds or flax seeds in the overnight oats as well, and it tastes good. I’ll eat that a lot in the morning and that kind of gets me through the show at least. Because I’m up and I forget to eat sometimes. I’m waking up at 3 o’clock in the morning and I’m working until 10. That’s 7-8 hours and you’re eating one meal. So for me, that’s super helpful because it’s filling and I try to start my appetite as soon as possible so I can get into a routine of not eating too late or overeating at one part of the day. So I would say that’s the key.

My splurge? Definitely French fries. I have a major problem with French fries. They’re the best thing that man has created. And I’m not using a hyperbole statement here. French fries are amazing. All of them. You got the steak fries that are great. Curly fries – shoutout to the curly fries that were big in the ‘90s. I love sweet potato fries. Who doesn’t want a sweet potato with a nice garlic aioli? Fries are great. They’re really great. A salted potato? You can’t go wrong.

AM: We see you on air - what would you say your style is on set versus when you're out and about with friends?

SM: Style on air, I try to keep it classy, San Diego. I try and also have my unique spin to my clothing. So I love jumpsuits.  It’s freezing in studio, nobody knows this because people seem so warm on air, but we are freezing in studio. Some of the guys don’t get cold the way women do. So, I try and wear pants a lot, which apparently is very unique for people who watch television and are used to seeing women wearing dresses – just check my @ mentions. So I try to change it up and wear more pants. Pocket Square Fridays are my favorite days, not just because it’s Friday but I get to wear a suit and kind of add my own personal touch with the pocket square which I also don't think you see on TV too much.

But, you know, it’s just as classy as possible. I don’t try to distract the audience by what I’m wearing versus what I’m saying. I wear a lot of black but I know I need to wear more color. And then off camera, the first thing I thought about is my camo T-shirt. There’s this one camo T-shirt that I bought at a London thrift shop when I lived there in 2008 or ’09 and I still have that shirt almost 10 years later. It’s like one of my favorite shirts. But like a camo T-shirt, some jeans and a pair of really cool kicks, that’s like a classic put-together outfit for me. A lot of black but there’s always a splash of color. There’s some pop of color that I’ll add to my outfit. But I try to keep it classic because it’s easy. When you think of the super geniuses of the world, like a Steve Jobs, he always just wore the same T-shirt and jeans. He didn’t really think too hard about what he was wearing. So I think for me that I try to get clothes where I can just take one thing, put it with another thing and they always go together no matter what two things you grab from your closet.

AM: Being able to be on ESPN's campus, we have some favorite places that allow you to truly take in sports history, where or what are your favorite spots? 

SM: I think the newsroom is cool, seeing where stories break. I was sitting in the newsroom when Tom Brady’s Deflategate suspension was upheld and the newsroom went crazy. I think I heard one person scream. So to think about all the news stories that have gone through that newsroom over the years in Building 4, that to me is super cool. ESPN has with its reputation that if a big story breaks, people are putting on ESPN. Just the way that they’ll put on a CNN or an ABC or NBC, ESPN is the place to get breaking news in sports. So I think that’s really cool to walk into the newsroom sometimes and see all the different anchors and knowing that I'm part of this history. That’s a really good, cool feeling.

AM: What's your favorite story that you worked on?

SM: I guess my story with Laurie Hernandez, which is more recent. There’s a couple reasons why that’s my favorite. One, my favorite thing to do is interviewing. I love it. I enjoy being an anchor on the morning shows but I just really love sitting with someone and doing an interview and doing the work behind an interview – the research and trying to think of questions they might not have been asked. Or the way I deliver the question – whether I take a pause or I add a joke, or what’s the question that’s going to get them to be like, ‘Ah, yeah, I never thought about that,’ or to get a different answer. That’s a cool puzzle to solve as a reporter.

I had an opportunity to interview Laurie Hernandez right after her Olympic run down in Brazil and the success that she had. She was a success story out of New Jersey, she was a Latina. I felt like I could relate to. So I got to do a sit-down interview with her and her mom and her dad for a feature for One Nación, the special that we had on ESPN. It was her family story and the pride and the support that was poured into this young woman, this athlete. It really made an impact the way that you see these athletes as singular magical creatures, like superheroes. But the superhero can't be super without the support and I talked about that with her family. Her mom and dad put all their energy towards her because that was what they saw – she had a special gift. And her brother and her sister, the modesty and the lack of jealousy or anything on her family’s part to see how much she wanted to be an Olympian was inspiring. What an impressive thing.

To be an Olympian, to be a great athlete, to be these superheroes that we see in sports, that we idolize, there’s so much happening behind that one person. You can’t be that person without the support group. So for me, that was a really powerful story because that family didn’t come from money, that family’s superpower was the love that they had for Laurie and to see that firsthand was powerful for me because I felt like in some ways me becoming a SportsCenter anchor was the result of all of the love that my family had given to me.

The second part of why this is my favorite thing I’ve worked on is because I got to do a writing component that came to me during the interview and it was based on a question that I had put together from observations that I had made with Gabby Douglas and some of the racist comments and critical comments fans and media made towards Gabby when it came to her being a black female athlete and her hair and the way that she carried herself, or for not smiling. So I asked Laurie about the criticism that Gabby got and her observations there and how that impacted her as a teammate and did she also receive criticism in a similar way being the only Latina that was on that Olympic team. And she said to me that people were critical of her because she didn’t speak Spanish and they said she was a ‘fake’ Puerto Rican. And to me, that again touched something, a personal spot for me because I didn’t grow up speaking Spanish – except with my grandparents. My  dad was made fun of when he moved from Puerto Rico to New York City, because he couldn’t speak English. So the first thing that my dad did was to make sure that I spoke English so that I wouldn’t be made fun of. Which is pretty sad when you think about it, right? Couldn’t we be bilingual? I would probably be way more bilingual had my dad taught me the language that he knew first, but he was made fun of as a kid. 

For me, I still identify as being Latina. I still identify with Colombians and with Puerto Ricans. My family culture and traditions are something that’s really important to me and that make me feel safe. A good plate of Titi Glady’s rice and beans and pasteles is the most comforting meal I could have. So for her to be criticized for being a fake Puerto Rican when I myself am not necessarily fluent, it hurt me. So I was able to pitch this idea as Laurie being a fake Puerto Rican to The Undefeated and I had a writing component to the interview, which I thought was great. So to be able to stretch my skillset a little more and do a longer form writing piece was challenging but something that now I want to do more of because I was able to do that with the Laurie Hernandez interview.

AM: Do you do any charities/philanthropy?

SM: I donate a lot of clothes – except for the camouflage T-shirt that I have – but I donate.  Also, I volunteer myself to speak to students on a regular basis, which I kind of forget that I do because it happens so frequently. Some student will say, ‘Hey, can I send you an e-mail?’ or, ‘Can I call you to ask you questions about your career?’ This probably happens now once a week where I’ll gladly take 30 minutes to an hour out of my day to talk to a student if it's going to help them with their career and give them some insight to the business. I speak to Syracuse students.  I’m going to probably two or three career days in the Bronx this year and I also read to younger students recently for National Reading Day at a local school in Bristol. And then Habitat for Humanity, I volunteered with that group to help Katrina victims when I was a student at Syracuse. So I’ve continued to work with that group. I donate money to Planned Parenthood. Also, the Red Cross, during Hurricane Sandy, that was something I was part of with that group to help people that didn’t have electricity or food nearby, I brought food to those communities in Brooklyn who were hit hard by the hurricane. I’ve continued to work with the Red Cross and Habitat for Humanity since those two tragedies.

AM: Please share anything that you feel you'd like to share!

SM: Sports is life. In sports, it’s a team effort. And if you don’t play on a team, you’re still part of a community. Even when I’m running by myself, I feel like I’m part of a running community. When I run past someone on a trail, I wave to them because I can relate to a community of other people who are running. The real ‘runner’s hi.’ So there’s that. And on teams, you obviously have community. Looking at the way that sports and outside influences like politics have all sort of intersected, it makes you think about the American dream where we’re supposed to have this idea where you make it on your own. I think that if you look at what sports tells us and shows us, clearly the most successful people don’t do anything on their own.

And when you look at women in this industry, you can’t do it on your own. When you look at winning a World Series or an NBA title or anything, you can’t do it on your own and I think that's a really strong lesson that sports has taught me.

As strong as you can be mentally,  the strength that comes to you, whether it’s an opposing team or to fight the institutionalized barriers that are set in place, whether you’re a minority or a woman or whatever it is that keeps you from getting a job or something, if you look at the foundation of sports, it’s about community and being supported, and we need to think about that when we look at other facets of the world.

I also think sports teaches us that while in the outside world we’re supposed to be so good with multi-tasking, if you focused on one thing you would do more justice to that one thing and do better in the bigger picture if you were able to do one thing really great. So, again, hyper focus with sports, you can’t play the field and you can’t hit at the same time. I think that there are a lot of lessons that we can apply in our daily lives and we can learn from any game, whether it be football or baseball or basketball or track or whatever.

The ideas of community, of work ethic, of leadership, of support, of being mentally and physically healthy and challenging yourself to what’s the next thing – setting goals. I think people don’t take sports so seriously, but if you look at the power that sports gives us as something to cheer for, even if you don’t play it, it gives communities hope that they can be supported by this team. There are heroes created. I don’t think athletes think enough about the impact that they create on their communities and how important that is because you give hope to the next generation. I think sports, and covering it, has been a real blessing because the foundation, the fundamentals of what any sport is, Sports are really the fundamentals that we should be applying to our daily lives.

ANCHORWOMAN TONI COLLINS

SPORTSCENTER @ 11AM

AM: We see you on SportsCenter and everyone has a story of how they got to this point, can you tell us where you're from, what college you went to, what stations you came through and whether these jobs were in sports coverage or other areas?

TONI COLLINS: So it's been a quick journey, but a fun one so far and God willing a long one! I went to the University of Mount Union in Alliance, Ohio. I played soccer there, majored in Media Communications with a minor in Sports Management. After college I found it hard to get a job so I interned at Univision in Miami, where I did everything from interning with their special events departments that mainly includes their TV Specials. But it wasn’t fancy haha, it was printing papers, umbrella holding for stars, getting coffee, transcribing interviews. Then I got moved to the networks magazine show Primer Impacto as an intern… and their reality show Nuestra Belleza Latina followed. I was there for about six months because I had applied at a sports radio station in Tampa and got the job! I was a board operator for almost 6 months. I had an opportunity to cover the Superbowl that year in Tampa, as well as the local Pro and college sports.

In the meantime I made a fake demo with several stand ups and sent it to several stations. Mcallen, TX local Univision and Fox station hired me off that! So I packed my bags, not knowing anyone and moved to Mcallen. I was there for 2 ½ years. I couldn’t have asked for a better first market. I covered it all! From Drug busts, murders, immigration stories, daily border stories, weather, sports. I reported for both the local Univision show at 5pm and 10 and the Fox newscast at 9. I also became the anchor for Fox toward the latter part of my time there.  While in Mcallen, an opening for Univisions' local Dallas sports anchor opened. I auditioned and was hired by Martha Katan.

That was by far also the best year of my life. 2011. Dallas Mavericks went to the NBA Finals and won it! In baseball the Rangers went to the World Series, and even though we lost, it was an unforgettable journey to cover the team and the local beat in the DFW area.
 
During that year, Univision Network launched their sports network and allowed local anchors to audition. I did and got that job. We launched the sports network and I was there for about a year. Then ESPN, my dream, called me to audition. I didn’t do so well the first time, but they gave me hope. At my second audition months later, they told me I could have potential in English, mind you my whole career for the most part has been reporting, anchoring and writing in Spanish. It was an opportunity I could not pass up so I said yes and came aboard on the digital side of ESPN. After 2 years I was “called up” as I like to see it hehe to do updates on the TV side. It’s been a year, but every day I keep learning and trying to get better and do well in English with the opportunities that come my way.
 
AM: Were you an athlete in college and if so - what sport?

TC: I was! I played soccer all my life. Had the chance to play for the Mexican Women’s National team U19  and for my college Mount Union.

AM: When did you first realize that you loved sports and how did you know that that would be a career for you?
 

TC: From the first day I played soccer. Probably when I was 10. It’s a feeling I can’t describe when it's you and the soccer ball and you can create opportunities, score, or hear the cheers and especially make my parents proud. Career wise, I knew I wanted it from way way back. I grew up in a newsroom. My mom is an anchor and reporter and my childhood was in a newsroom or in the field with her because she couldn't find a sitter so I tagged along. You know when people say, "Oh I want to be a vet or a doctor or a policeman!" … I never had those thoughts, I have never had any other desire then to be a reporter. I saw how amazing my mom was at telling stories while growing up and what a difference one can make telling a story, it’s all I want to do and get better at that as I continue to grow with ESPN.

AM: Even in 2017 we still focus on women in media - especially in sports and how we continue to break barriers - where are we in our journey as a collective, in your opinion?

TC: I think we are making great strides! And one day, it won’t be a story or a headline. Just normal. Linda Cohn told me once, just look at everything in a positive light. It may not be perfect, it may not be fair, but its up to you to see it in a positive light and focus on that and how one handles the reality and how one can help the journey moving forward in a positive way.

AM: Who were your mentors that assisted you in getting to where you are today?

TC: I have so many in front and behind the camera. ESPN anchor/reporter Claudia Trejos. She became my mentor and friend when we worked at Univision Sports and now we are together again at ESPN…She is amazing! One of the most respected sportscasters in sports TV. Jack Obringer, he’s one of my bosses. The man is honest and bless his heart because he has to deal with me haha, but in all honesty his constant feedback from my segments, shows, and stories here at ESPN help me grow, learn, and put perspective about where I am and where I need to be to succeed.  My mother. No words will describe how much I look up to her as a professional. She is unbelievable. To this day, I don't know how she did it! She was able to raise my sister and I, be a mother, be a  professional, a wife, and a fighter.

AM: SportsCenter is such an iconic show - tell us about what you do, your time slot and what's a day like on and off the set.

TC:  Yeah! I do updates for the SportsCenter show Coast to Coast from 11-Noon. I also am a reporter for both ESPN in English and ESPNDeportes. A typical day starts at 6:30 and ends around 3pm. However, so many things pop up such as meetings or if I’m working on a story and we voice and edit etc. Also I do some of the Voice Overs for the Sports Center out of LA so squeeze recording those during the week. I have so much fun reading those haha “SportsCenter brought to you by…”

AM: How do you juggle your personal life (dating/marriage, friends, family and personal time) against the demands of ever changing news?

TC: Well if we are honest. It’s tough. Dating is non existent haha and its ok! It’s a blessing in disguise right now as I’m trying to grow and learn the most I can. If I'm not at work, I’m with my girlfriends from here at ESPN, Griselda Ramirez and Alexis Nunes or my friend from back in the day in Mcallen, TX who lives in NYC a drive away, Janice Perez. That’s on weekends, but they are the balance I need from work, thank God for them!

Family wise it’s tough, but thankfully my mom being in the same field understands I can’t make it for holidays or birthdays etc. I try to go home every 5 months or she tries to come up, but she’s also so busy!
 

AM: We know you love Barcelona for soccer, who are your other favorite teams?

TC: Barcelona for life because of my father. He was from Cataluña and loved Barcelona, he passed away a couple of years ago so Barca means so much more than just a team. I do love the Steelers, Texas Rangers, Club Leon from Liga MX .. For hockey I’m totally on the band wagon and I’ll admit it, but I’m a Maple Leafs fan! I’m Mexican American and their star rookie Auston Matthews is as well. I find it so freaking awesome he is dominating a sport not really associated with Mexico. It’s so cool to see how all the sacrifices he and his family have gone through are paying off! 

AM: For this feature, we included you, Dianna, and Sarina - how much, if at all do you cross paths in terms of being on set, working on projects etc?

TC: I get to see Sarina more because we cross paths when I go in for makeup. She is typically done with her show and I’m just heading in. Dianna, I  always catch her doing her thing on SportsCenter! I wish we got to spend more time together, but given our schedules its so hard! So when we do have the time it’s always a blast! Like this one! It was so much fun to spend time, laugh and catch up!
 
AM: During our shoot, we shot you guys working out - tell us about your workout routine and how you stay fit? What are 3 exercises that we should do for toned arms, abs and legs?

TC: Oh man I’m so bad on my own I have help form a trainer. Nate Pagan. Bless his heart too because he’s got quite the task! Hahaha For legs, squats and deadlifts are a must. For abs, we religiously do hollow holds and planks, and for arms, simple and to the point…. bicep curls and tricep extensions.
 
AM: What do you like to listen to when you work out vs when you're out and about?

TC: When I work out, I love to listen to fun, fast paced music. When I’m out believe it or not. Spanish and country music is a must! I’m a Latina country girl for sure! haha

AM: You're always on the move, what do you eat for great energy to keep you going and what do you love to splurge on?

TC: I always have a Quest Bar or a bag 

AM: You're always on the move, what do you eat for great energy to keep you going and what do you love to splurge on?

TC: I always have a Quest Bar or a bag of almonds on me. I tend to go to the cafeteria too to see if they have snacks or a piece of fruit. I am Latina therefore I love carbs haha, love love love bread, so combine that with my love for Italian food and I splurge on pizza! Give me pizza and I will love you forever!
 
AM: We see you on air - what would you say your style is on set versus when you're out and about with friends?

TC: Off camera I’m very chill. Steelers/Rangers/Mavs/Barcelona cute shirts and jeans. Love my Adidas sneakers too. When I'm on air, I tend to do a ton of dresses. It’s really hard for me with style because I’m such a tomboy. I really count on my mom still to help me out. She has such style! Its amazing and love what she picks out for me. But yeah I live in dresses and heels on tv and off tv sneakers tshirts and jeans.
 
AM: What's your favorite story that you worked on?

TC: So far it has to be the one I just finished in the Dominican Republic called Striking Out Poverty. Water is the primary need of the poorest communities in the most rural areas of the Dominican Republic. Growing up in the small modest town of Villa Mella, Pittsburgh Pirates’ Gregory Polanco is well aware of what the needs are in his home country. Polanco is one of 40 Major League Baseball players who have partnered with “Striking Out Poverty,” a campaign launched by the organization “Food for the Hungry” to raise nearly a million dollars to help nine of the poorest communities in the Dominican.
 

ANCHORWOMAN DIANNA RUSSINI

SPORTSCENTER @ 7pm or 9pm

AM: We see you on SportsCenter and everyone has a story of how they got to this point, can you tell us where you're from, what college you went to, what stations you came through and whether these jobs were in sports coverage or other areas?

DIANNA RUSSINI: I was born in the Bronx, New York, but eventually moved to New Jersey. I attended Northern Valley Regional at Old Tappan. I was a 4 sport athlete in high school, a decent one. I played soccer, basketball, softball and eventually ran track. My goal was to play Division One soccer. Not one school was interested. So I had a coach reach out to George Mason University to get me a tryout.  They agreed because I think they felt bad. I walked on and made the team, barely. The head coach kept me, but at the end of the season he said, "I’m just going to let you know that I am going to cut you in the fall. You’re not good, you’re too little, too skinny – you don’t have enough muscle or skills.” So I said, coach give me one more spring season before the fall season and let me try out again. That spring I gained thirty pounds of muscle and was the leading scorer on our team. That fall, I made the team and eventually earned a scholarship. It was an incredible experience. I really had no business being on that field playing with some of the most elite players that I have ever played with in my life! They’re all still my friends to this day and we all joke about how bad I was, but they were the reason I was able to rise above and push myself.  They all believed in me.

While I was in college, 9/11 happened. I was a freshman and I had only been at George Mason University, which is in Fairfax, Virginia, for about a month. My father was in Tower 1 that morning. He got out – which was a blessing. But, he drove down to Virginia to take me out of school immediately. Because at that point he was going through a lot of different emotions and I’m sure that one of them was,  let me get my family all together. So he took me out of school and we sat and watched the news for hours and hours and hours – just like many New Yorkers did. 

Everyone has stories from that day. My University  was 5 miles from the Pentagon – which was another target. It was just bad timing. I still reflect on that day and it was the worst day of my life. But I feel blessed that the people who I love were able to get out. It was a moment that I realized when I was watching the news that I had had an interest in being a journalist. I knew I liked something about reporting, but I didn’t know what it was. At that time, I was 18 or 19 and I wasn’t too sure. Then after 9/11, I knew that that was exactly what I wanted to do. I wanted to be a local news reporter and to be like those brave reporters who were down there reporting and being a messenger to the people. Those men and women were so important that day!

The next summer, my father suggested I get an internship at Channel Seven Eyewitness New in Manhatttan. Well, I put in for an internship and you know how it goes in NYC. Everyone applies to them because here are 1,000 schools. I drove up from school after practice and I was the last one to get an interview. The assistant news director Bill McFarland who wound up giving me the internship, told me that it was because I asked great questions. I’ll never forget when they called me to tell that I got it. I knew that once I got the internship at Channel 7, because we know how good of a station that is, that everything was going to come together. They supplied me with everything I needed to become a journalist.

come together. They supplied me with everything I needed to become a journalist.

From there, I did sideline reporting in college and I had to put together a tape. Mine was awful, but this little station called News 12 hired me in Westchester County, New York. I worked there and broke a couple of crime stories. The News Director at WNBC in New York heard about me through the grapevine and inquired. I met him for dinner, we talked about my process, and my goals to be a NYC local news reporter and he said, "how would you feel if I could make your dreams come true right now?" So at the age of 24, he hired me as the youngest General Assignment Reporter in NYC – which was so cool!  A few months later, he was let go as the news director as were many of the people he hired. That’s when our sports anchor Bruce Beck suggested I get into sports. So I packed my bags and moved to Seattle, Washington and got a job there. From there I moved back to the East Coast and I went to the NBC affiliate in Connecticut and was a Sports Anchor and news reporter. While I was there the News Director from the Washington D.C.’s NBC affiliate was driving through CT, got tired, got a hotel room, flipped the news on and I was anchoring. The next day, he called my boss and said, can we hire her as a sports anchor in DC. It was good timing. WRC NBC Washington is one of the most respected local news stations in the country. I went there and a few years later, ESPN approached me about working as a SportsCenter anchor and I took the job!

AM: Even in 2017 we still focus on women in media - especially in sports and how we continue to break barriers - where are we in our journey in your opinion?

DR: We’re a little better – not great. I think the thought is, there are so many women on television or writing for newspapers/blogs in sports, it must be an even playing field now. It's not.

The respect that women receive in sports has improved in some areas, but we still have a long way to go. Here’s a concrete example. 

Two weeks ago I was in Indianapolis at the NFL combine (a place where future NFL players work out in front of coaches, owners etc). Reporters have the opportunity to get out there as well to meet with all the people that  are in the league. It’s an invaluable environment to get quality facetime with decision makers. There’s one or two steakhouses everyone hangs out in after dinner. It’s incredible, you can be standing next to Jerry Jones and Bill Belichick at the same time if you are there at the right time. One morning, I ran into a NFL head coach walking by Starbucks.  He said, "I heard you were at the steakhouse last night until 1am." I said, "yes I was, why is that an issue?" He said, "you know as a woman, it looks really bad to be out past midnight with men in the NFL." I responded with “What do you mean. Everybody is out – what are you talking about there were 100 people in there.” He said “you don’t want people assuming that you’re doing anything unprofessional. Being out late could be dangerous.” 

I could feel my face turning bright red, I was infuriated. What does staying out late have to do with being unprofessional? Dangerous? Is there a rule that networking has a curfew? I quipped back at him “because I’m a woman, I have to go home while my male competitors get the opportunity to hang out and network because they are men? Why don’t they go home! They get a few more hours in front of the coaches because they’re men? That makes zero sense to me.”

He felt bad and apologized while adding, "you always want people to respect your credibility and you never want them to think that you're getting stories any other way." Which I said, "if that is what people want to believe, that’s their problem – not mine!" Here we are in March 2017 and there are still these issues for women. I don’t blame him – it’s just part of the culture. When Adam Schefter or Chris Mortensen break a story nobody questions how they collected the information, but every time a women breaks news in sports, it’s always “what did she do to get that” and it’s unfair to women who are doing it the right way. So when you ask me to reflect on the barriers, my response is there’s still a thick one between men and women.
 
AM: Who were your mentors that assisted you in getting you to where you are today?

DR: That is probably the most important part of my journey! You are not able to be successful in this industry without great people around you. I’m really lucky because because I have many mentors for different reasons, but my family is the reason I have been
able accomplish many of my goals. I have two very different parents. My father is very cerebral, thinks things through. I then have my mother, who is a spitfire, competitive, and filled with love and personality. They have kept me grounded and focused every single
time I take another jump to another station or another level in this business. My brother and sister are both married and I have in-laws and my entire family is all-in on my career. They don't miss a SportsCenter, they watch every single show. My brother in-law follows me on Twitter to see what I am talking about and they call and text me. In terms of me, where I’m at in my career, I keep pushing it harder because if I don’t reach the goal or get to where I want to go to – I have these amazing people that I can fall back on – my family. 

AM: SportsCenter is such an iconic show - tell us about what you do, your time slot and what's a day like on and off the set?

DR: I anchor SportsCenter during the evening hours. Sometimes the 7 pm SportsCenter or the 9 pm. Those shows have tons of highlights and most games are going on during those hours. It’s our job to update the viewer when they come over to us. Most of the time, my highlights aren’t even done yet because the game isn’t done yet! So I will just give you an update on here what’s happening in the 3rd quarter for Knicks/Bucks – here’s the score and here’s what happened. So it moves – it’s the fastest moving show at ESPN. This requires you to be organized, prepared and requires you to have a free spirit. You have to be ok that it’s not going to be perfect.

Off the air, I get in hours before and I start researching the game and thinking about what the storylines are for the games going on. I work with an amazing team on how to best prepare and give the best information to the viewer for when they tune in. I'm usually on for a minimum of 2 hours and for a maximum of 4. It's a lot of live television. It kicks your butt and it makes you really good!

AM: How do you juggle your personal life (dating/marriage, friends, family and personal time) against the demands of ever changing news?

DR: Ah that’s so cute, you think I have a personal life. Just kidding. It’s a work in progress for me. My family is all in New Jersey still so I try to see them once every two weeks. I also have a great group of friends back home that keep me sane. They keep my life balanced and healthy. Also when I started at ESPN, I was introduced to another ESPN host, Cassidy Hubbarth and we became really good friends immediately. When we hang out, we talk work for 30 minutes and we’ll say, “hey I caught you last night you need to do this” or “hey I saw you last night on the sidelines at the Rockets game – I loved your interview.” It’s great to get feedback from someone I respect, but also trust. We do everything we possibly can to keep things positive and to not talk negatively about anything at ESPN. That’s really important to our friendship, being positive.

From there, we’re just Cassidy and Dianna. We text all day and both worship Jennifer Lopez. For us she embodies what we want to be: classy, powerful, successful, and cool.  When we are actually in the same city at the same time, we go out to dinner or just walk around Manhattan. I’m a better sports anchor because I met Cassidy. She also reminds me that I’m not defined by this business. It’s ok to love it and be passionate about my work – but there is also more to life. She’s a big reason why I am so happy at ESPN.

AM: Who are your favorite teams?

DR: Ok this is the worst part! I’m a die hard NY Jets fan, I'm proud to be a New York Yankees fan, I'm a Knicks Fan, and Islanders fan. I'm a new Portland Timbers fan and I'd say for women's basketball I’m a Seattle Storm fan because I love Sue Bird.  

I anchor SportsCenter during the evening hours. Sometimes the 7pm SportsCenter or the 9pm. It's our job to update the viewer when they come over to us - it's the fastest moving show at ESPN.

AM: March Madness is here - what's that like and how does it affect your normal day to day as you head into the office?

DR: This time of year makes all the hard times being a sports anchor worth it. The environment in the newsroom, on set – the energy at this time of year is at the highest! Mostly because every one has a school that has a hand in the game and you want to cheer for it. It’s a great way to show that sports is a great way to unite people. I get more excited to go to work and sometimes I don’t want to anchor because I want to watch the games! That’s always a hard thing for me, but it’s so much fun and it never gets old. It’s something you look forward to every year. I can’t wait for it to start!
 

AM: For this feature, we included you, Toni, and Sarina - how much, if at all do you cross paths in terms of being on set, working on projects etc?

DR: Not at all. That was the first time that I had seen Toni in months. Toni and Sarina are morning people and I’m a night time anchor. When Toni is getting ready for bed I’m on TV so we don’t get to see each other and so I have to make an effort when I want to see the morning people and so do they. We all get along really well and I have to say that as much as it is competitive and we want to be the best and do whatever it takes, the women of ESPN do a really good job of supporting each other and understanding that there is room for everybody. 

There is an understanding where we need to stick together as we’re not where we need to be. 

AM: During our shoot, we shot you guys working out - tell us about how you stay fit? What exercises should we do for toned arms, abs and legs?

DR: I am a big body sculpting person! I hate running – if you told me I had to run for 5 mins, I would leave the shoot – that’s how much I hate cardio! I have figured out for my body type that I have a lot of energy and I’m intense. So body sculpting is the best avenue for me. When I was in Washington DC, I did pilates reformer every single day – 7 days a week for 3 months and then it was 2-3 times a week for the rest of the year. It changed my body completely and ended up toning my body. It elongated my body, I felt taller and leaner. If there was one workout that works for me that I would share with your readers, it's Pilates Reformer – you should try and it’s addictive.

I try, because I’m so busy, to take opportunities to work in little things during my day. For example, I have to walk from the newsroom to the cafeteria – there are these long hallways and I look crazy and I don’t care sometimes – I will do lunges there, when I walk to the car in the grocery store because I won’t get a  chance to go. For me my lower body is something that I am always working on and it’s the weaker part of my body. For my upper body, my favorite workout is to row.  My back is so much stronger. As for butt workout, besides the lunges – my go to is to get down on all fours and to do the raises.

AM: I do them all the time!

DR: They’re great right? Do you want to know who taught me to work out?  My mom as she would do the raises in the kitchen when she cooked! She'd lift her leg when she was flipping pancakes.

AM: As soon as I saw you do the lifts in our shoot, it brought me back to when I was little, when I would “workout” with her and she did those! I knew your mom taught you that retro move!

DR: It’s SO retro and I’m so glad you called me out on that!

AM: What is on your playlist? 

DR: I love Beyonce – you can put any song on and I feel like I’m going to take on the world. I don’t know what it is about her music but it gets me all the time. I love The Weekend. Anything poppy will get me going. Sia songs - “The Greatest.” I listen to this as I drive into work and I’m like, “I’m going to rule the world,” anything that fires me up, high energy with great beats. I’m a big podcast person. When I’m really zoned in at work, I’m a firm believer in keeping the process going during my day. This means, I anchor at night, I wake up, get coffee, and I go to the gym and I keep the process going by listening to sports in my ear while I work out. To add balance to my life. I listen to podcasts that are not sport specific too so I know what's going on in the arts, the economy, politics, pop culture etc.

AM: You're always on the move, what do you eat for great energy?

DR: Oh wow, you’re right food is really important and I am really lucky that ESPN has a great cafeteria. I’m a big grilled vegetable/grilled salmon person. When I first started, I ate a hamburger every single day. One day, the chef said to me, young lady have you ever thought about grilled salmon? I was like why and he said, I don’t know all this beef it may not be very good for you. I had never had it before but he said I bet you’re going to love this and I did. He changed my whole diet and so now I do grilled salmon and broccoli everyday and it’s delicious. I’m a big coffee person and I have learned through friends and my mom that if there’s one key to success when it comes to diet and exercise, it’s water! Water changes your life. If there is any take away from talking to me its this DRINK WATER! I see a difference in my skin, my body, my mind - everything changes. 

AM: What would you say your style is on air versus when you're out with friends?

DR: SO my style on set is categorized as sassy fun professional sporty. I don’t want to ever distract from what I am discussing so I keep it very plain. You’re dressing yourself 5 times a week and its hard to get it right all the time! The key to TV is to wear something that doesn’t distract. Simple solid colors, dresses are always a go to for me.

AM: Being able to be on ESPN's campus, we have some favorite places! Where or what are your favorite spots?

DR: My favorite places – the makeup room, because the women we have on our staff are incredible. They are so talented and supportive and sometimes you just need a second to breathe! That room is just the place. Those women who I now call friends should charge for therapy! It's where most women feel comfortable and you can let your hair down. I love my coffee so Starbucks is my place and the baristas are my best friends at ESPN. I'm always rushing and on the phone and they know what I like! In the summer time, especially in CT, one of my favorite things to do is to walk from the newsroom to the cafeteria when the sun is starting to set and I love to look around and remind myself that I work at the worldwide leader. It’s the best way to recharge myself and to remind myself that this is a lucky break that I got and it’s up to me to make it into something. 

AM: What's your favorite story that you worked on?

DR: My favorite interview that I have been able to be a part of – Kelsey Plum, a women’s college basketball player. She broke the record for most points scored in a career. I got to interview her after she did it! Her grace, humility and awareness of the moment inspired me. I also had the chance to have lunch/dinner with Josh Norman and D'Angelo Hall from the Redskins on camera. They were so open and honest.

AM: Do you give you time to charities?

DR: Yes! So it’s not really charity but giving of time - I really enjoy speaking to students and to women in the work-
force, sports or not. I make a point to volunteer my time to schools in NJ. I visit my little sister’s classroom twice a year. It's the most rewarding and fulfilling that that I have participated in my life. Every one always thanks me so much when I come to their classroom or convention, and I’m always like no, no thank you! I do feel tht you have to pay it forward and share the message.  I like to share the message of mistakes that I have made and I’m comfortable with that. I'm saying that I'm a mess, but a mess on a mission.

Read more from the March Issue and read We Are SportsCenter in mag