Meet Jason Kelce, summer student at a grazing farm, and perhaps a future rancher

Nagging postgame injuries, childhood memories, thoughts of retirement, and those fiery “Go Birds” chants: It was all captured in Kelce, a new Prime Video documentary starring Philadelphia Eagle Jason Kelce.

The 102-minute film, which premiered Tuesday, follows the all-pro center before the 2022 NFL season to the months after the Eagles’ historic run to Super Bowl LVII. Outside the grueling demands of the gridiron, and the moments spent with his wife, Kylie Kelce, and their three daughters, the doc shows Kelce exploring a surprising offseason interest.

When his days of hitching the ball to quarterback Jalen Hurts are done (and we hope it’s no time soon), Kelce might put his farmer hat on and spend his free time neutering bulls.

On the first episode of Kelce’s podcast New Heights with brother and fellow NFL star Travis Kelce, he talked about having a particularly “fun” offseason back in 2022. “You asked me what I did this offseason. Have you cut a bull’s nuts off? No, I don’t think you have,” he said.

Near the 24-minute mark of the doc, Kylie Kelce also talks about her husband’s farming endeavors in Missouri. The film then cuts to the six-time pro bowler grabbing a name tag and joining a beginner’s grazing school session led by cattle rancher Greg Judy.

In May 2022, Jason Kelce flew out to Clark, Mo., to meet Judy, who owns and leases 19 farms across the country, for his annual spring grazing school at Green Pastures Farm. Over two days, Kelce learned the fundamentals of sheep and cattle rearing alongside other beginner ranchers.

When he first met Kelce, Judy said his hand disappeared in Kelce’s massive mitts. Despite his physical stature, and growing popularity as a beloved Eagle, Kelce was as “humble” and willing to learn as much as anyone he’ has ever taught, Judy said to The Inquirer.

“Jason really blew me out of the water,” said Judy, a three-time author and popular YouTuber. “He’s just a learner. I think that’s why he’s so successful as far as being a football player. He’s willing to do the work.”

When Judy asked what drew Kelce to regenerative agriculture, which focuses on an eco-friendly, grass-based grazing system, the NFL star told him he wants to enjoy healthier foods and introduce his daughters to farming.

Judy, a die-hard Kansas City Chiefs fan, said it was hard watching his team beat the Eagles last season. “I almost felt like Mama Kelce during the Super Bowl,” he joked.

The connection between Kelce and Judy was made by Ann Demerath, the office manager and secretary at South Poll Grass Cattle Association, which maintains the record and registry of that particular breed of cattle.

As intentional as Kelce is on game day, Demerath said he’s as laser-focused when it comes to regenerative agriculture. And she knew having him meet Judy would set him up for success, and open his and others’ eyes to the possibilities of farming. “[Kelce] doesn’t go into things halfheartedly,” she said. “If he’s going to invest his time, he’s going to give it his all.”

As Kelce continues to learns the ropes of farming, Demerath said his presence can shed more light on the process of regenerative agriculture and clear any misconceptions about the practice.

“Somebody with [Kelce’s] influence to take on regenerative agriculture, and to show people that animal agriculture is here to support and heal the planet, is really important,” she said. “I think it’s super cool that [Kelce] is a part of this, and that he wants good food, he knows where it’s coming from.”

While Kelce is back for another NFL season, Judy looks forward to the day he gets invited to Kelce’s future farm, either in Missouri or near his home in Philadelphia.

“He talked about how he’d like to have me come in to consult on his farm, just to make sure [he’s] got the fencing, the water, and the livestock set up. I’m looking forward to that and seeing how it goes.”

– The Philadelphia Inquirer

From small galleries to primetime TV, Dawn Okoro is shining under international spotlight

As a "tall, thin and quiet bookworm" with a love for fashion and culture magazines in Lubbock, artist Dawn Okoro said she always felt like a black sheep in the small, northwestern Texas city. 

While others her age played on playgrounds, she spent hours flipping through the pages of Vogue, Essence, Jet and Ebony magazines.

Her artistry blossomed as she studied the covers and spreads of the iconic publications, with the images of models like Naomi Campbell and Tyra Banks broadening her scope and sparking her creative talents.

"For me, my window to the world was in magazines," Okoro said. "My grandma would get them and my mom had a subscription to Jet Magazine and Ebony Magazine, and every month there would be a couple of pages dedicated to fashion. They featured Black fashion designers and some of the Black models and I would just think, 'Wow.'"

With each weekly or monthly issue, Okoro was inspired to replicate the images captured by editorial photographer Richard Avedon and other creative minds of the time. 

In elementary school, she began making drawings of the clothing designs from the magazines, sometimes filling the skin with a mahogany shade where it did not previously exist. And by the time Okoro, 42, was in high school, she took her fashion-centric style to the canvas. 

But Okoro said her family didn't believe a career as a full-time artist was sustainable. 

"Where I grew up, people heard of (Pablo Picasso) or whatever, but my family was kind of like, 'That's a nice hobby, but you need to go be a doctor or a lawyer or engineer,'" Okoro said.

To appease her family, Okoro pursued other avenues. 

She graduated from the University of Texas at Austin with a degree in psychology and a minor in fashion design. She later earned a law degree from Texas Southern University, but despite the opportunities that bloomed from her academic success, her creative passions were always on her mind.

After graduating from TSU, Okoro uprooted her life in Austin to start anew in New York with the hopes of making it as an artist in the Big Apple. 

Okoro began meeting with different artists and curators, but after a year, she and her then-boyfriend — now-husband — were forced to move back to Central Texas due to family and financial strains that worsened with the Great Recession in the late 2000s. 

With no interest in practicing law and to please her family, Okoro put her artistic pursuits on hold and decided to start a career in journalism.

"In my heart, I knew I wanted to do art, but there was still that drive to feel like I'm actually doing something with my life in a way that my family would understand," she said. 

'I thought there would be less struggle and anxiety'

While working at Spectrum News Austin, Okoro said, she wouldn't pick up a paintbrush for months or even years at a time. 

"It was a process," Okoro said. "When I moved back to Texas from New York, I just decided to give up on art. I liked making work, but I think I had a vision of what an artist was. I thought there would be less struggle and anxiety. But it's impossible not to see art in your life. You really can't avoid it; it's everywhere."

Okoro eventually found time to create new art series and finished paintings she hadn't touched in years. 

Her creative revival came at a time of emptiness.

After experiencing the death of loved ones, Okoro recognized the fragility of life and decided to turn to a paintbrush and canvas again. 

"It felt like something was missing," Okoro said. "After maturing, seeing life and experiencing the death of people close to me, it kind of felt like life really is short and I need to start living and I started small from there." 

In 2018, Okoro showcased her "Punk Noir" exhibit at the George Washington Carver Museum, a show that featured towering canvas paintings inspired by local artists and influencers in and around Austin that exuded a "punk spirit," Okoro said. 

The exhibit also included music from Austin-based band BLXPLTN to coincide with the artist's vision. And with the exhibition's success, Okoro drew the attention of local and international gallerists. 

Among her many admirers was Phillip Niemeyer, owner of Northern and Southern Gallery, who marveled at Okoro's eclectic style. 

"When I first saw Okoro, I thought she was amazing from the get-go, and everything she's doing now is just reinforcing that," he said. "I love the way she's constantly exploring her work. She doesn't stay in one place."

Mauve Doyle, the artistic director at Maddox Gallery in London, said she was drawn to Okoro's transparency and creative mind. 

"I like her confidence and her ability to engage with people, take chances and trust in the process of things," Doyle said. "Her future is really bright, and her work is uplifting."

Doyle said Okoro's background in fashion bleeds into her artwork, with many of her subjects painted in deeply enriched colors and positioned in ways that mirror the covers of editorial magazines.

Where to see Dawn Okoro's work

The relatively withdrawn artist has come into her own.

Since 2017, the Houston-born artist has held residencies and exhibitions in Seattle, Miami, New York and London, and she recently collaborated with PepsiCo to have her artwork placed on the brand's Lifewtr bottles. Her work also has been featured in Season 2 of NBC's "Law & Order: Organized Crime." 

"When I watched the episode where Jennifer Beals said my name and showed my painting, I squealed a little," she said. "I’m happy to see some of my goals begin to come to fruition. There is so much more that I can do with art. I’m just getting started."

Okoro has continued to expand her artistic reach since becoming a full-time artist in August 2021, with works such as "VantaBlack," "Kool-Aid Drawings," and "Crown and Glory."

Along with international exhibitions and TV show appearances, her contributions to the arts also have been recognized by Austin organizations.

In February, CapMetro placed portraits from Okoro's "Kool-Aid Drawings" project on city buses, and a wooden bust of the artist was placed inside the Carver Museum for the center's "Peace to the Queen" exhibit of work by artist Jamel Shabazz. 

Given her success as an artist, Okoro said her mother and other family members have applauded her chosen path and accomplishments.

"I think they're proud of me," she said. "I think now that I have more opportunities that are more tangible to see, they understand it better now. I think they're happy to see me happy and doing what I love to do."

After her career pivots and periods of artistic inactivity, Okoro said she's now fully embraced her artistry and individuality. 

"It's taken me years to come to that conclusion, and there are still some times as an adult when those feelings creep in again. But I think just doing my art has helped me a lot, and getting my art out there lets me know it's OK just to be who I am," she said. 

Okoro said her goal is to inspire other artists to accept their differences as their superpowers and to add beauty to the world. 

– Austin American-Statesman

Why reboots of classic Black TV shows are succeeding where other nostalgia fare fails

Nostalgia is in the air. Already 2022 is turning out to be the year of revivals of classic TV series — and particularly so for shows considered hallmarks of Black entertainment.

Among the long list of culture-defining sitcoms and animated shows returning this year, the reboots include new looks at The Fresh Prince of Bel-Air and The Proud Family, both of which premiered in February. By revisiting these shows now, Peacock (home of Bel-Air) and Disney+ (The Proud Family: Louder and Prouder) are clearly looking to replicate some of the same TV magic as the originals — but to their credit, they're doing so with a sense of nuance. It's working so far; both shows are critically acclaimed, which is rarely the case for most rebooted franchises.

For those who didn't grow up watching The Jeffersons, Fresh Prince (which ran for six seasons beginning in 1990) was likely the first time they saw an all-Black cast depicted as a wealthy family. The show likewise introduced classic characters and launched the careers of Hollywood legends while interweaving social and racial topics that still hold relevance today. And for younger millennials and older gen Zers (like myself), The Proud Family was the gold standard of representation as one of, if not the only, Black-centered animated shows on Disney in 2001. The series did for Disney animation what Modern Family did for sitcoms; it reshaped the look and feel of the channel, and opened doors for other Black actors and shows to shine on the popular network.

But why reboot them now? Judging by the recent renaissance of Black entertainment, strategic timing certainly plays a part. In the 1990s and early-to-mid 2000s, shows like Martin, Living Single, A Different World, One on One, and All of Us were at the forefront of Black media, with each of them representing a different layer of Black America during that time. But a large majority of these shows slowed in the mid-2000s and early 2010s — that is, until the airing of Black-ish in 2014, which recreated a zeitgeist that once permeated airwaves. Its success paved the way for a steady stream of shows dedicated to Black families and daily life rooted from a place of authenticity; Black-ish inspired spin-offs like Grown-ish, Mixed-ish, and reportedly the filming of Old-ish, and instigated more Black creators being tapped to spearhead TV shows on their own accord, including Courtney A. Kemp's Power, Donald Glover's Atlanta, Lena Waithe's The Chi, and most recently Quinta Brunson's Abbott Elementary.

The resurgence of Black media likewise inspired ABC to reimagine one of its classic shows with a Black family at the center. Last year, The Wonder Years debuted on the network and starred Elisha Williams as Dean Williams, a 12-year-old boy growing up in Montgomery, Alabama, during the late 1960s and early 1970s. The show was inspired by 1988's The Wonder Years, which chronicled the life of Kevin Arnold (played by Fred Savage) in the late 1960s and early 1970s — and, notably, starred an all-white leading cast. The first two episodes of 2021's The Wonder Years, on the other hand, revolve around the assassination of Dr. Martin Luther King and tackle culture-altering events while also bringing a sense of levity found in the original series. 

Other reboots haven't been as lucky. New versions of classic programs like The Odd Couple, Charlie's Angles, MacGyver, and others have been rightfully ripped by critics. But 2021's The Wonder Years — and in turn, the reboots of The Proud Family and Bel-Air, which premieres the season one finale on Thursday — are succeeding where other shows with similar influences aren't because of their willingness to insert new ideas or elements to captivate a new generation of viewers while at the same time honoring fans of the original series. While hinging on viewers' nostalgia can be a show's strength, it can be detrimental when there's no sense of originality, even if the concept is based on a widely popular entity.

Sure, certain elements of the Peacock and Disney+ shows are the same as their predecessors, like the list of main characters and their backstories, and in the case of The Proud Family: Louder and Prouder, a near-identical animation style. But they have both also added to their source materials' mythos, drawing in a younger generation of viewers with new concepts, characters, and direction. For example, diverging from its more comedic and lighthearted origins, Bel-Air has taken on a more dramatic and ultra-realistic turn. The show trades in a live studio audience and multi-cam set-up of the original and focuses on a more introspective look at a young Black man who was plucked from West Philadelphia and is abruptly moved to one of the ritziest enclaves in Los Angeles. 

The Proud Family: Louder and Prouder, meanwhile, broadened its cast of characters with EJ Johnson voicing nongender conforming character Michael Collins and Billy Porter and Zachary Quinto voicing gay couple Randall and Barry Leibowitz-Jenkins. Instead of relying on the same narrative tropes and cultural topics that were prevalent when the original show aired in the early 2000s, the show has leaned into topics like LGBTQ rights, the effects of social media, the different shades of "wokeness" and other subjects that loom over today's society. The show's subject matter has evolved to draw in modern audiences, all while retaining the beloved characters and unmistakable charm that made The Proud Family a classic animated series.

Given the shows' new creative directions and refined scopes, The Proud Family and Bel-Air have a chance to stand on their own as summits of Black entertainment and the larger TV industry — just like the classic series that preceded their arrivals. 

– The Week

From pink polo shirts to weird boots: How Kanye's fashion has evolved

It’s hard to imagine a time when the masses weren’t drawn to artist and fashion designer Kanye West, a man who's spearheaded some of the biggest cultural shifts and era-defining trends since he first stepped into the industry spotlight.

But the Netflix documentary Jeen-yuhs: A Kanye Trilogy chronicles the days when West was a quietly confident producer who was known for his soul-stirring beats but fighting to land a record deal as a solo artist.

The first two episodes of the three-part film, titled “Act I: Vision” and “Act II: Purpose,” are pieced together from 20-year-old footage recorded by now-director Coodie Simmons, who gave viewers a glimpse into the recording sessions of songs that made West a household name. Simmons, who directed the project with fellow filmmaker Chike Ozah, first turned his camera to West with the belief he would ascend to rap superstardom. But even with his remarkable foresight, not even Simmons envisioned what kind of force West would become in the world of fashion.

Nobody knew — except Ye.

“LOUIS VUITTON DON”

The self-proclaimed “Louis Vuitton Don,” a nickname West first christened himself on the song “Last Call” from his debut album The College Dropout, mixed luxury brand pieces like Dior, Gucci and others with streetwear essentials — which blurred the lines of modern couture forever.

From leather kilts, Margiela masks, and Venetian shutter shades, hip-hops fans and high fashion mavens have been drawn to West's influence. And for the 44-year-old rapper, conquering the fashion industry was a goal he set from the time he signed his record deal at Roc-A-Fella Records.

“If West’s rubber BALENCIAGA RAIN BOOTS aren't evident enough, HIS STYLE has always been AGAINST THE GRAIN.”

In “Act II: Promise,” West made his intentions clear during an interview following his car accident in 2002: “I had an accident and almost died and everything, right? But I was sitting up in the hospital for the first seven days, and I’d just be watching TV and I just came to this revelation …. people are like, ‘You almost just died. What came from this?’ And I just sit back, and just decided that I’m going to be the best, the best, dressed rapper in the game because their gear was crazy whack.”

If West’s rubber Balenciaga rain boots aren't evident enough, his style has always been against the grain. On his song “Touch the Sky,” West addressed how his stylistic choices early in his rap career hindered his success: “Back when they thought pink Polos would hurt the Roc/Before Cam got the sh*t to pop/The doors was closed/I felt like Bad Boy’s street team: I couldn’t work the locks.”

In the same way he was viewed as an artist, West’s clothing style didn’t fit the mold of a “rapper,” which better aligned with the gangster rap image that loomed over the genre in the early 2000s. When everyone was wearing XXXL Mitchell & Ness jerseys, jump-rope length chains and baggy jeans in the early 2000s, he was draped in bright rugby shirts, a monogrammed ​​Louis Vuitton backpack and Ralph Lauren sweaters adorned with the "Polo Bear," later inspiring the “Dropout Bear” that was placed on his first three album covers.

Throughout the documentary, West was also spotted in Superhero and movie-themed graphic T-shirts, knit turtleneck sweaters and a retainer that was far from camera shy. While maligned at the time, a lot of the pieces West wore 15-20 years ago are touted in high fashion circles today, which is a true testament to his vision for future trends. Vintage Polo pieces and other brands West donned in his “College Dropout” days are treasured items for hype beasts and online resellers, and some pairings would even hint at future brand collaborations.

During West’s Def Poetry Jam performance of “All Falls Down” called “Self Conscious,” he wore Adidas Superstars, and even sported a Gap shirt throughout the series, foreshadowing the release of his “Yeezy Gap engineered by Balenciaga” collection in late February.

But in time, everyone would begin to rap, produce and dress like West.

RESISTANCE

Before becoming a rap superstar, West maneuvered through the industry on his own accord, using the scraps and resources he had to place his form of artistic expression at the forefront. And much was the same when it came to fashion. Even with a Louis Vuitton footwear collection, West arranged to intern for Fendi in 2009 alongside the late Virgil Abloh, who was the artistic director at Louis Vuitton's menswear collection before he passed in November 2021.

The New York Times reported that the two men were making $500 a month to run errands and fetch coffees at the famed fashion house. And in a 2013 interview with former BBC Radio 1 host Zane Lowe, West reaffirmed his genius, claiming that he and Abloh introduced the idea of leather jogging pants to Fendi – a trend that would emerge in high-end circles years later.

In 2009, West enlisted industry notables such as Abloh, Don C, Kim Jones, who was Louis Vuitton’s men’s artistic director at the time, and others to establish his first clothing line in 2009: Pastelle. It wasn’t his first dive into the depths of fashion design — that was Mascotte by K West, which was scrapped in 2004, but Pastelle was his first full-fledged attempt at creating his own brand.

But after West’s outburst against Taylor Swift at the 2009 Video Music Awards, Pastelle’s LA office shut down and his plans for the brand’s flagship stores and events soon did as well, according to Complex. His frustrations were made public during an interview on Jimmy Kimmel Live!,”where West talked about the resistance he’s faced at the gates of the fashion world.

“I WANT to make the next RALPH LAUREN.”

“I spent 10,000 hours at this; I dedicated my life to this. And a lot of people say, ‘OK, you know, you have to do music.’ Imma keep doing music, but what if people told me I couldn’t rap. What would have happened? What if people told me I couldn’t perform?’” he said. “I’m only 36 years old, I have other goals and other things, and I’m going to use my platform and every platform to stand up and say, ‘I want to make something. I want to make the next Ralph Lauren.’”

While the interview was nearly a decade ago, it’s reminiscent of the moment in Jeen-yuhs when West played “All Falls Down” to a puzzled music executive, whose colleagues roamed in and out of the room, and he left the Roc-A-Fella office momentarily deflated.

YEEZY EMPIRE

After footwear deals with Louis Vuitton and Nike, West continued to push for his own clothing line and would eventually take the reins of his Yeezy brand in 2015. And in the seven years since its inception, the brand’s apparel and sneaker releases have helped boost West’s estimated $1.8 billion net worth, according to Forbes.

Yes, the numbers are astronomical, but West’s impact has been nearly unmatched because of the stylistic trends he’s set ablaze. He broke ground years ago with collaborations and footwear deals with high fashion brands, inspiring other rappers to level up their drip game and even delve into the business of fashion.

As Yeezy has generated millions of dollars — and quenched the thirst of hype beasts from around the world — he’s opened doors for others to succeed in fashion and has consistently drawn in the industry’s top talent. Designers like Heron Preston and Matthew Williams, who’s now the creative director of Givenchy women’s and men’s collections, have made their marks in fashion after working alongside West and his extended creative team.

So, while many will point to West’s polarizing statements, failed presidential campaign, thickly rubberized rain boots (for now, at least) and his antics on social media, which has half the country calling Pete Davidson “Skete,” his impact in fashion is undeniable and will remain an integral part of his legacy – just as he envisioned.

– Input Mag